THE INDEX GUIDE 



TO 



TRAVEL AND ART-STUDY IN EUROPE: 



A COMPENDIUM OF GEOGRAPHICAL, HISTORICAL, 

AND ARTISTIC INFORMATION FOR THE 

USE OF AMERICANS. 



ALPHABETICALLY ARRANGED. 



BY - 

LAFAYETTE C. LOOMIS, A.M., M.D. 



WITH PLANS AND CATALOGUES OF THE CHIEF ART GALLERIES^ 
TABLES OF ROUTES, MAPS, AND /60 ILLUSTRATIONS. 



16 1888 7 

NEW YORK 
CHARLES SCRIBNER'S SONS 

1888 



s 



■rU ', ,u, j , : . u 
THE LIBRARY 

OF CONGRESS 



WASHINGTON 



I 






Copyright, 1882, 1886, 1888. bt 
CHARLES SCRIBNER'S SONS 



TROW 8 

PRINTING AND BOOKBINDING COMPANY, 

NEW YORK. 



TO 

THE FRIENDS WHOSE KINDLY AID HAS RENDERED THE LABOR OF 
PREPARING THESE PAGES A PLEASURE; 



to those whose companionship in travel has left 
a thousand happy memories of europe, 

This Volume 

is affectionately inscribed 



CONTENTS. 



PAGB 

Preface, . . . . , . . vii 

List of Galleries, ..... ix 

List of Routes, ...... xi 

List of Maps and Plans, . . . . xiii 

Introduction, . . . . . xv 

PART I. 

Scenery, Art, History, Legend, and Myths, . 1-413 

PART n. 

Catalogue of the Noted Works of Art in the 
Principal Galleries of Central Europe (with 
Plans of Galleries), . . . 415-500 

PART IK 

Routes, embracing the Principal Through Lines 
of Travel in Great Britain, France, Bel- 
gium, Switzerland, Italy, Germany, and Aus- 
tria, 501-571 



PREFACE. 



The following work has been the outgrowth of wants experi- 
enced in repeated visits to Europe. The requirements of the 
American in Europe at the present day, are essentially different 
from those of twenty-five years since. 

The desirable routes, the localities to be visited, and the ob- 
jects to be seen, are all comparatively well known. Railway and 
hotel officials, and, to a large extent, tradesmen and servants, 
have become so Anglicised as to have removed the principal im- 
pediments offered by a foreign tongue. That large portion of a 
Guide-Book devoted to this desirable information is, therefore, no 
longer needed. At the same time, the Americau public has be- 
come aware that, to the intelligent visitor, the supreme attrac- 
tion of the Old World, centres in its great Collections of Art — a 
source equally of pleasure and culture which his own country 
cannot bestow. The want of the American is, therefore, less as 
to routes, hotels, and cost, and more as to the Arts, G-alleries, and 
Masterpieces. 

The question was, however, whether by the omission of what 
is unimportant, a fair summary of that which is so desirable, 
could be comprised within reasonable limits ; whether the fifteen 
full volumes of Murray, or the nine of Baedeker required between 
Edinburgh and Naples, could be reduced to one of companionable 
dimensions. 

Those who have visited Europe know full well that, however 
good may have been one's knowledge of history, mythology, and 
art, he is met at every turn by some object whose story he can- 
not recall, by some work or name with which he is not familiar. 



viii PREFACE. 

It would be beyond reasonable anticipation that any suitable 
Hand- Book could meet all such exigencies. But by discarding 
the unfrequented routes, the localities rarely visited, and the 
numberless objects paraded as of vast importance by local guides 
and books, but of no greater interest or value than multitudes of 
similar ones in our own country, a larger amount of the more 
indispensable information has been crowded into a single volume, 
than was at first deemed possible. 

In the Galleries it has been the endeavor to select the works 
which, either from historic note or artistic excellence, are re- 
garded as specially important to be recognized and remembered 
by the American visitor. 

The cuts or illustrations are intended simply as aids to identi- 
fication in preparatory reading, and in retaining a distinct impres- 
sion of the masterpieces when once seen. 

In the references to the works of art, it has been deemed of 
importance to the student, to add the criticisms of well-known 
scholars and acknowledged authorities. 

With regard to the formulas of pronunciation, it may be 
proper to say that the English language having no sounds corre- 
sponding to those of the French u and n, and some others, any 
attempt at figuring the pronunciation of such sounds, must, at 
best, be but an approximation. 

In the compilation and condensation of such a multitude of 
facts, many of which are wanting in the united support of any 
two authorities ; and of figures, many of which refer to elements 
in themselves constantly fluctuating, it is impossible that an 
occasional error should not escape the closest scrutiny. The 
author trusts, however, that such instances will rarely be found, 
and that the work will prove a helpful companion to many a pil* 
grim to the home of History and the abode of the Arts. 

L. C. L. 

Apkil, lSbS. 



LIST OF GALLERIES WITH THEIR 
ABBREVIATIONS. 



PAGE 

Albani Villa, Rome Alb. Villa 417 

Amsterdam, Rtjks Museum Rijks 417 

Antwerp Museum Ant 419 

Barberini Pal. , Rome Barb 420 

Berlin National Gallery Berlin N. G 420 

Berlin Royal Mus Berlin 420 

Bologna, Acad, of Fine Arts Bolog 422 

Borghese Gallery, Rome Borgh 423 

Borghese Villa, Rome Borgh. Villa 424 

Brera, The, Milan Brera 424 

British Museum, London Br. Mu 426 

Brussels Museum Bruss 431 

Capitoline Mus. , Rome Cap 432 

Corsini Palace, Rome ... Corsi 434 

Doria Palace, Rome Doria 434 

Dresden Gallery Dresd 435 

Dulwich Gall., London Dul 437 

Florence Acad, of Fine Arts Flo-r. Acad 438 

Florence Nat. Mus Flor. Nat. Mus 439 

Glyptothek, The, Munich Glyp 440 

Hague, The, Museum Hague 441 

Hampton Court, Lond . . Hamp. Ct 442 

Hermitage, The, St. Petersburg .... Hermit 443 

Lateran Museum, Rome Lat. Mus 444 



x LIST OF GALLERIES. 

PAGE 

Louvre, The, Paris Louvre 445 

Madrid, The Prado Madrid 456 

National Gall. , Loud Nat. Gall 457 

Naples, Nat. Mus Naples 461 

Palace of the Conserv. , Rome Cap 463 

Pinakothek, New, Munich New Pina 465 

Pinakothek, Old, Munich Munich 467 

Pitti Gallery, Florence Pitti 470 

S. Kensington Mus., Lond So. Kens 472 

Spada Palace, Home Spada 473 

Torlonia Gallery, Rome Tori 473 

Uffizi Gallery, Florence Uff. 474 

Vatican Picture Gall., Rome Vat 478 

Vatican Sculptures, Rome Vat 479 

Venice, Acad, of Fine Arts Venice 485 

Versailles ( Paris) Versail 488 

Vienna, Belvedere Belv 497 



LIST OF ROUTES. 

See pages 501-573. 



ROUTE 

Alessandria — Genoa 52 

Milan 52 

Antwerp — Brussels 16 

" Cologne 17 

" London,#ta Queen- 

boro IOC 

" Lond. via Harwich 10B 

" " Steamer 10A 

; " Rotterdam 15 

Arona — Lucerne 25 

Milan 44 

Brieg 35 

Bale — Berne 32 

44 Heidelberg 22 

44 Lucerne... 23 

44 Zurich 27 

Belfast— Dublin 2 

Berlin — Cologne 59 

44 Dresden 60 

Berne— Bale 32 

" Interlaken 31 

44 Lausanne 33 

Bingen — Mayence — Heidelberg 21 

Bologna — Florence 49 

44 Milan 47 

44 Turin 42 

44 Venice.... 48 

Brieg — Arona 35 

44 Geneva 34 

Brussels — Antwerp 16 

44 Cologne 19 

44 London 11 

44 Paris. 18 

Chamonix — Geneva 36 

44 Martigny 37 



ROUTE 

Coire — Como 29 

44 Zurich 28 

Cologne — Antwerp 17 

Berlin 59 

Brussels 19 

44 Mayence 20 

Como— Coire 29 

44 Milan 45 

Cork— Dublin 1 

44 Queenstown 1 

Danube, The 63 

Dresden — Berlin 60 

44 Prague — Vienna... 61 

Dublin— Belfast 2 

44 Cork — Queenstown.. 1 
Edinburgh — G lasgow, via 

Lakes 3A 

Glasgow direct 3B,C,D 

" London, Midland. 5 

44 " Ot.K.. 6 

Florence — Bologna 49 

44 Pisa 51 

44 Rome 50 

Geneva — Chamonix 36 

Lausanne 34 

44 Paris, via Macon. . . 39 

44 u Fontarlier 38 

44 Brieg 34 

44 Turin.. 40 

Genoa. — Alessandria — Milan . . 52 

44 Pisa 53 

Glasgow — Edinb'gh, via Lakes 3A 

44 44 direct 3B,C,D 

London, L.&N. W. 4 

Heidelberg— Bale 22 



xn 



LIST OF ROUTES. 



ROUTE 

Heidelberg — Mayence — B i n - 

gen 21 

" Munich 56 

Interlaken — Berne 31 

" Lucerne . . 30 

Lake Brienz 30 

" Como 29 

44 Geneva 34 

44 Lomond, Katrine...-. .. 3A 

44 Lucerne 25 

44 Maggiore 25 

44 Thun 31 

Lausanne — Berne 33 

" Geneva 34 

Paris 38 

Liverpool — London, L.& N. W. 7 

" u Midland. 8 

" " Gt. W. .. 9 

London — Antwerp, steamer . . 10A 

44 " via Harwich 10B 

" fi Queenboro IOC 

44 Brussels 11 

" Edinburgh, Midland 5 

" u Gt. iV. . . 6 

44 Glasgow, L. & N.W. 4 

" Liverpool, /a <fciV. W. 7 

41 4l Midland.. 8 

Gt.W..... 9 

" Paris, via Dover 12 

" u Folkestone 13 

" " Newhaven 14 

Lucerne — Arona 25 

" Bale 23 

" Interlaken 30 

" Rigi 24 

" Zurich 26 

Martigny — Chamonix 37 

Mayence — Bingen 21 

44 Cologne, The Rhine 20 

Heidelberg 21 

Milan — Arona 44 

44 Bologna 47 

" Como 45 

14 Alessandria — Genoa . . 52 

44 Turin 43 



ROUTE 

Milan — Venice 40 

Munich — Heidelberg 56 

' 4 Verona 58 

44 Vienna 62 

Zurich 57 

Naples — Rome 55 

Paris — Brussels 18 

'' Geneva, via Macon ... 39 

" " Pontarlier 38 

" Lausanne 38 

-' London, via Boulogne. 13 

" Calais... 12 

" " Dieppe .. 14 

" Turin 41 

Pass, The Brenner 58 

" Brunig 30 

Simplon 35 

Spliigen 29 

St. Gothard 25 

Tete Noire 37 

Pisa — Florence 51 

u Genoa 53 

" Rome 54 

Prague — Dresden 61 

" Vienna 61 

Queenstown — Cork — Dublin. . 1 

Rigi —Lucerne 24 

Rome — Florence 50 

" Naples 55 

Pisa 54 

Rotterdam — Antwerp 15 

Spain and South of France. . . 64 

Turin — Bologna 42 

u Geneva 40 

" Milan 43 

Paris 41 

Venice — Bologna 48 

" Milan 46 

Verona — Munich 58 

Vienna — Munich 62 

" Prague — Dresden 61 

Zurich— Bale 27 

a Coire 28 

41 Lucerne 26 

44 Munich 57 



LIST OF MAPS AND PLANS. 



PAGE 

Atlantic Ocean xiv 

Amsterdam 14 

Antwerp 21 

Berlin 42 

Berne 47 

Bologna 53 

Brussels 58 

Catacombs, Rome 70 

Cologne 87 

Copenhagen 93 

Dresden 117 

Edinburgh 121 

England and Ireland 51(3 

Florence 133 

France and Belgium 520 

Frankfort 139 

Geneva 143 

Germany, Central 564 

Glasgow 155 

Heidelberg Castle 161 



PAGE 

Italy, Northern 554 

Italy, Central 559 

Lake Lucerne 531 

Lakes, Scottish 509 

Liverpool 193 

London Environs 196 

Lucerne 202 

Milan 246 

Munich 254 

Naples, Environs 259 

Paris Environs 294 

j Pere Lachaise 301 

Rhine 524, 527 

i Roman Forum 335 

Rome 340 

Switzerland 542 

Turin 386 

Venice 390 

Zurich i 412 



;?} o T* in m ! 




THE INDEX GUIDE, 



INTRODUCTION. 



Preparation. — For a tour of three to six months in Europe, 
comparatively little preparation is necessary. 

Passports, though no longer required in any of the countries 
of Central Europe, are yet desirable, especially for those traveling 
alone. They serve the purpose of identification in calling for let- 
ters poste resbante, and will frequently gain admission to buildings 
otherwise closed to the public. For enteriug the territory of 
Russia a passport is indispensable. 

The passport should always be carried upon the person ; not 
in the trunk or valise To procure a passport, address a letter to 
the "State Department, Washington," asking for "passport- 
blanks," and the requisite papers and instructions will be for- 
warded. 

Wardrobe — Ladies : For the voyage, a half-worn silk or 
worsted dress, a warm woollen wrapper, a close hood or nubia, 
warm knit slippers, and a carriage robe. For travel, a dress 
suitable for the cars and for galleries, a drawing-room dress, win- 
ter underwear even in summer, linen for two or three weeks, a 
warm shawl, a gossamer waterproof, a duster, strong, easy boots, 
small, light toilet articles, and no excess of anything. 

Gentlemen need a thick, strong, woollen business-suit, one 
extra suit, a duster, winter underclothing, linen for two or three 
weeks, a light woollen and a gossamer overcoat. 

Whatever may be required beyond this outfit can readily be 
supplied as occasion may demand. Ladies usually over-estimate 
the requisites in respect to wardrobe, and quite as much under- 
estimate the annoyance of constant packing and unpacking of 
needless clothing. 

Luggage. — Excess of luggage is a constant weariness, and on 
the Continent, a constant expense. Take what is absolutely 
needed, and nothing more. A supply against future possible 



xvi INTRODUCTION. 

needs is not economy, as every article required can be purchased 
as cheap as here, or cheaper. In Italy, and some portions of 
Germany, no luggage is free. 

" The warning cannot be too often repeated or too emphatically enfoi-ced on the 
traveller, that, if he values money, temper, comfort, and time, he will take aa 
little luggage as possible." — Murray. 

Trunks. — The best trunk is known as a " steamer trunk," and 
should be about 32 inches by 15 or 18 wide, and 12 or 15 deep, 
with a flat top. It should have a thoroughly strong lock, one or 
two good straps, firmly attached, and the owner's name (not ini- 
tials) painted on the ends. 

Expenses. — The cost of a tour may be estimated, all told, at 
from $6 to $10 per day. For purchases, at least three times the 
amount one thinks of spending. 

Funds are best taken in a letter of credit, by which any de- 
sired amount may be drawn at any large city on the route. Noth- 
ing is gained (but worriment) by taking American gold. 

A Steamer Chair will be found desirable for the voyage. It 
should be marked with the full name, and can be stored until the 
return, at small cost. 

State -Room. — The most desirable location of state-room is as 
near the centre of the ship as possible. Outside rooms are usu- 
ally preferred ; in some of the recent steamers, however, the in- 
side rooms are among the most desirable, being equally well 
lighted and having better ventilation and less motion. Steamers 
having the saloon and state-rooms midship are much to be pre- 
ferred to those having them aft. A state-room near the propeller 
is to be avoided unless one is absolutely proof against sea-sickness. 

Embarcation. — Be on board at least one hour prior to the 
time announced for sailing. Have all that you wish to use on the 
voyage in one trunk, marked with the number of your state- 
room, and see that it is labeled on the dock, " Wanted" and the 
other trunks, ' ' Not Wanted, "or " Below. " Have the wanted 
trunk sent to your state-room ; the others, below. In the confu 
sion of starting, guard well all small packages. 

As early as possible arrange with the steward for a seat at the 
table. The most desirable places are promptly engaged. 

At Sea count upon sea-sickness, and take it philosophically. 
It can neither be prevented nor cured, nor is it so dreadful. 
Keep on deck and in the open air as much as possible. Have a 
supply of brandy, lemons, and fruit. To protect the face from 
the effect of the sun and salt air, some starch or rice- powder, 
glycerine, and a thick, dark veil will be found very desirable. A 
Gulf Stream fog will often blister the face as effectively as a clear 
sun. Sluggish digestion should be promptly corrected. The 
stewardess or person who may attend upon one, should be re- 
warded according to services rendered -one to five dollars. 



INTRODUCTION. 



xvn 



Atlantic Steamship Lines. 



Anchor 

Cunard 

Guion 

Hamburg . . 

Inman 

National . . . 
N. G. Lloud 
Red Star . . . 

State iTh 

Transatlantic . . W. 



Sat., N. Y.. 7 Bowling Green . Fri., Glasgow, 47 Union st. 
W., N. Y., 4 Bowling Green . . . Sat., Liverpool, 8 Water st. 

Tn., N. Y., 29 Broadway iSat., Liverpool, Guion & Co. 

Th., N. Y, 61 Broadway W., Hamburg, Admiral st., 33. 

Th., Sat., N. Y.. 1 Broadway. . |Tu., Th., Liverpool, 22 Water st. 

Sat., N. Y., fi ( .» Broadway IW., Liverpool, 21 Water st. 

Sat., N. Y., 1 Broadway |M., London, 16 King Wm. st. 

N. Y., Weekly, 55 Broadway. .. [Antwerp, B. von der Becke. 

., N. Y., 53 Broadway jF., Glasgow, 65 Gt. Clyde st. 

N. Y., 3 Bowling Green . . . Sat., Havre, Grand Hotel, Paris. 



White Star |Th., Sat., N. Y., 53 Broadway. . JTh.. Liverpool, 10 Water st. 

Designation of Steamship Lines. 

Each Line gives to the smoke-stacks of its vessels a distinctive 
color and mark as the designation of that Line. 
American, red, with black and Inman, black, with white band. 

white band, and keystone. National, white, with blk. top. 



Anchor, black throughout. 
Cunard, red, with blacktop. 
French, red, with black top. 
Guion, black, with red band. 



JSf. O. Lloyds, black throughout. 
State, buff, red band, black top. 
White Star, yellow, black top. 
1 Wilson, red, wide black band. 



Ship Time 

Is divided into watches of 4 hours each, commencing at 12, 4, 8. 
The time of each watch is divided into 8 bells, and is struck everv 
half hour ; thus 2, 3, or 7 bells signify the 2d, 3d, or 7th half 
hour of the watch. The watch from 4 to 8 p.m. is divided into 
two watches of 2 hours each, called " Dog Watches." A signal 
bell of one stroke is struck 15 min. before the "change of watch." 
Going eastward noon will occur from 20 to 40 min. earlier each 
day, according to the distance made. Going westward, the same 
amount late)\ 



Difference of Time Between New York and 

London Hours, 4.56 Rome Hours, 5.46 

Paris " 5.05 Berlin " 5.50 

Brussels. " 5.14 j Vienna " 6.02 

Cologne " 5.24 1 St. Petersburg " 6.57 

Milan " 5.33 1 

Nautical Lore. — Starboard, the right side of the ship when 
looking toward the bow (green). Port, the left (red). The 7nasta 
are the fore-mast, main- mast, and mizzen-mast. The parts of 
the mast are fore-mast, fore-top-mast, fore-top-gallant-mast, 
fore-royal -mast, and similarly for the other masts, thus, main* 
mast, main-top-mast, mizzen-mast, mizzen-top-mast, etc. 



xviii INTRODUCTION. 

Booms are heavy spars to which the sails are attached — the jib- 
boom extending from the bowsprit ; the flying- jibboom extending 
beyond the jibboom ; the main and mizzen booms are attached to 
the main and mizzen-masts ; the spanker boom extends aft from 
the mizzen-mast. 

Yards are heavy horizontal spars, crosswise the ship, to which 
the sails are attached along up the masts. 

The principal sails are the jib and flying-jib, long triangular sails. 
extending from the fore-mast to the jibbooms ; and along the 
masts upward from the deck the try-sail, the fore-course or fore- 
sail, fore-top-sail, fore-top-gallant-sail, fore-royal-sail, fore-sky- 
sail ; and similarly for each of the other masts, thus, main- try- sail, 
main-sail, main-top-sail, mizzen- top-sail, etc., and the spanker, 
the steramost sail, extending from the spanker boom to the gaff. 
The ensign or ship's colors are attached to the gaff. 

Shrouds are the ropes used to sustain the masts, and extend 
from the fore-top to the sides of the ship (the rope ladders). The 
other ropes used as supports of the masts are designated stays, 
and are named from that pare of the mast to which they are at- 
tached, as fore-stay, mizzen-stay, fore-royal- stay, mizzen-top- 
gall ant-stay, etc. 

The Atlantic. 

On leaving the pier at New York the steamer heads south- 
ward. 

To the east is New York with the conspicuous towers of the 
Post Office, the W. U. Telegraph buildings, and Trinity Church ; 
at the extreme point of the city, Castle Garden ; further e. , the 
Brooklyn Bridge, the largest suspension bridge yet erected ; e., 
Governor's Island, with Fort Columbus ; w. , Ellis Island. Thence 
across N. Y. Bay 10 mis. to the Narrows, Staten Island lying on 
the vv. with Fort Tompkins, and Long Island on the e. with Fort 
Hamilton. Entering the Atlantic, Sandy Hook is seen to the w. 

Forty mis. from Sandy Hook, on the coast of Long Island, is 
Fire Island Light, and 80 mis. Shinnecock Light. Passing 
these, the next landmark is the South Shoal Lightship, off 
Nantucket ; poss'.bly Cape Sable Island, off Nova Scotia, and 
Cape Rack Light, on Newfoundland. These latter are more 
commonly seen ou the return voyage. 

The Banks, or Fishing Banks, or Newfoundland Banks, ex- 
tending about 250 mis. in either direction, and lying at a very 
uniform depth of 200 to 300 ft. , are noted alike for cod fisheries, 
fogs, and icebergs. 

Icebergs.— The ordinary limit of ice is from March to Au- 
gust, between 45° and 55° Ion. and above 42 J lat. Icebergs are 
occasionally found outside this limit, both in date and location. 

The Roaring Forties. — From 40° to 50° Ion., the preva- 
lence of winds and generally disagreeable weather has given 
this part of the ocean this significant title. 



INTRODUCTION. xix 

Some of the lines take what is known as V the southern route," 
i.e., going below the s. point of the u Banks; " others make 
the course direct from the S. Shoal Light Ship to Cape Race. 

To Glasgow: Tne first land made is usually Arranmore, 
isl. ; n., Tory Island Light, on the n. w. of Ireland ; thence s., 
Maline Head, the n. pt. of Ireland; n.. Innistrahull Isl. Lt.; n. , 
in the horizon. Mull of Ooa, pt. of the Isl. of Islay ; s. , the 
Giant's Causeway ; Rathlin Isl., at the entrance of the North 
Channel. Opp. Rathlin, e., is Mull of Kintyre, a point of the 
Scottish mainland. Rounding the point, we enter the Firth of 
Clyde and head northward; w. , Isl. of Sanda ; Isl. of Arran ; 
Isl. of Pladda, 2 lighthouses ; opp., e. , is Ayr ; w., Isl. of Bute; 
e., Little Cumbrae, Great Cumbrae; w.. Toward Pt. ; turning 
eastward, s. , Greenock, birthplace of Watt, the inventor of the 
steam engine, and burial-place of Burns' "Highland Mary;" 
n. , Dumbarton ; s. , Renfrew, Glasgow. 

To Liverpool ; First land, dist., n., Mizen Head; Fastnet 
Light ; Cape Clear on isl. at the s. pt. of Ireland. The island, 
containing 1,500 acres, possesses a church aud the ruins of a 
castle. The lighthouse cliff is 455 ft. in heigl.t. Off the point 
is Fastnet Light, on a small, solitary rock. Lat. , 51° 26' ; 
Ion., 9° 29'. Distance to N. Y. , 2,694 mis. ; to Queenstown, 61 ; to 
Liverpool, 308 mis. Thence skirt along the coast to Queens- 
town ; Saltee Isl.; Carnsoie Pt ; enter St. George's Channel; 
e., the coast of Wales, with the Snowdon Mts., 3,571 alt. 
Holyhead Lt., on Holy Isl., the nearest pt. to Dublin, 64 
mis.; the Skerries Lt., off the n. w. pt. Anglesey ; n. , the Isle of 
Man ; Liverpool. 

To London and the German Ports : The first land is the 
Scillies; thence coasting along the English side. Lizard Pt. ; Start 
Pt ; the Bill of Portland ; Rocken End (Isle of Wight) ; Beachy 
Head ; Dunge Ness ; Dover ; opp. is seen the French coast. 
Enter the German Sea ; round N. Foreland, pass Margate and 
Sheerness ; enter the Thames ; Gravesend ; Woolwich ; Green- 
wich ; London. 

Money. 

Legal Values as established by the U. S. Treas. Dept.: 

England, Pound, $4,866=20 sh. 

France, Belgium, Switzerland, Franc, and Italy, Lira, 
19.3 cts. =100 centimes. 

Germany, Mark, 23.8 cts. =100 pfennigs. 

Holland, Gulden (florin), 38.5 cts. =100 centimes. 

Austria, Gulden (florin), 45.3 cts. =100 kreutzers. 

Denmark, Sweden, Norway, Kroner (crown). 26.8 cts.— 
100 ore. 

Russia, Rouble. 73.4 cts. =100 kopecks. 

Spain, Peseta, 19 cts. =100 centavos. 



xx INTRODUCTION. 

Coins and their Current Values generally in European coun 
tries. 

England: gold, Sovereign (Pound), $5; Half Sov., $2.50; 
tffoeP, Crown, $1.25 ; Half Crown, 62 cts.; Shil., 25 cts.; 6d, 12 
cts. 

France, Belgium, Switzerland, Italy : gold, Twenty-franc 
Piece (designated Napoleon, Leopold), $4 ; Ten-franc, $2; silver, 
Franc, 20 cts. (Sou 1 ct. ). Lira same as a franc. 

Germany : gold, Twenty Marks, $5 ; Ten Marks, $2.50.; silver, 
Thaler (3 mk.), 75 cts.; Mark, 24 cts.; 50 pfg., 12 cts.; 25 pfg., 
6 cts. 

Austria {gold seldom used) : paper, Gulden (Florin), about 
40 cts. ; silver, 20 kr. , 8 cts.; 10 kr., 4 cts. ; 5 kr. , 2 cts. 

Russia (gold, Half Imperial, 5 roub , $4 ; seldom used) : 
paper, Rouble, 70 to 75 cts.; silver, Rouble, 80 cts ; 20 kop., 16 
cts ; 10 kop., 8 cts.; 5 kop., 4 cts. 

Spain: gold, Alphonso (5 Sp. dol.), $5; silver, Sp. Dollar (5 
pesetas), $1; Peseta, 19 cts.; 50 centavos, 10 cts.; 25 centav., 
5 cts. 

Photographs. — In selecting photographs care should be 
taken to observe that they are right-handed. Through want of 
care in their preparation, the negatives sometimes become re- 
versed, thus mutually transferring the right and left sides. 

Thermometer, Barometer, Weights, Measures. 
See Weights. 

Abbreviations. 

For abbreviations of the Galleries, see p. ix. 

For abbreviations used in Routes, see p. 501. 

Crowe and Cavalcaselle are referred to as C. & G. 

fi marked thus indicates the French nasal sound which has no 
corresponding sound in English, lying between our n and h. 
Thus, Macon (mah-cofi) is nearer coh than con. 

* Signifies of special importance, interest, or merit. 

** Of great excellence or importance — the gems of the Gal' 
leries. 



PART I. 



ART, SCENERY, HISTORY, LEGENDS AND 
MYTHS. 



" A man of culture, visiting for the first time the old 
homes of art and story, experiences about as much of 
pleasure as this world has to give." — Scribner's Monthly. 

" He who from travel would bring home knowledge, 
must take knowledge with him." — Dr. Samuel Johnson. 



SCENERY, ART, HISTORY, LEGEND, 
AND MYTHS. 



Aachen (ah'-kn), Oer. : Aix-la-Chapelle, Fr. (aiks'-la'- 
3ha -pel' ; chapel of the waters) ; the Civitas Aquensis or Aquis- 
granum of the Romans; pop. 75,000; a modern town, in which 
there remain of the ancient structures only the cathedral, the 
town hall, the corn exchange, and some of the gates. 

It is noted especially for its associations with Charlemagne, 
being the place of his birth, coronation, favorite residence, and 
burial. For 7 centuries after Charlemagne, 814-1531, the corona- 
tions of the German emperors, 37 in number, took place in the 
Cathedral of Aix-la-Chapelle. It has also been the scene of 17 
Imperial Diets, 11 Ecclesiastical Councils, and 3 Congresses of 
Peace. 

The Imperial Insignia were kept here until 1793, when they 
were removed to "Vienna, where they have since been preserved 
in the Imperial Treasury. From the Roman times this place has 
also been noted for its sulphur springs, which at the present time 
attract 30,000 visitors annually. 

The Cathedral or Miinster Kirche was founded by Charle- 
magne, 796, and consecrated by Pope Leo III., assisted by 365 
bishops. 

To this was added a choir in 1353. The portion erected by 
Charlemagne v v -as octagonal in form, with a 16-sided gallery, 
and crowned by a dome. Fragments of the mosaics with which 
the dome was decorated have recently been discovered beneath 
the whitewash, and an effort is now being made to restore the 
primitive decoration. Many of the columns for this early struc* 



4 AACH 

ture were brought from Italy. Of these, several of the most 
valuable were carried away by the French in 1794, but returned 
in 1815. 

The Choir, erected in 1353, is decorated with fine modern 
stained glass windows, with scenes representing the life of the 
Virgin. The 14 statues by the pillars are probably of the same 
date as the choir. The pulpit was presented by Emp. Henry II. 
In the Sacristy are the Great Relics, which are exhibited only 
once in 7 years, attracting immense crowds upon the occasion ; 
and the Smaller Relics, to which admission may be gained at any 
time (1 mark). 

The Great Relics, preserved in a silver vase, were presented to 
Charlemagne by the Grand Patriarch of Jerusalem, and are held 
in the highest reverence by the devout. They consist of the 
swaddling-clothes, a scarf worn by Christ at the Crucifixion, a 
robe worn by the Virgin at the Nativity, and the cloth on which 
was laid the head of John the Baptist. 

The Smaller Belies comprise a leathern girdle of Christ, a piece 
of the true cross, a girdle of the Virgin, a lock of the Virgin's 
hair, some bones of St. Stephen, and a piece of Aaron's rod. 

Among these treasures are also the skull, a leg (called an arm) 
bone, and a hunting-horn of Charlemagne. 

Beneath the centre of the dome is the tomb of Charlemagne 
bearing the words Carolo Magno. His remains were deposited 
here in 814. The tomb was opened in the year 1000 by Otbo III., 
and the body, which was found seated upon a marble throne, was 
placed in a Parian marble sarcophagus. Directly above is a mas- 
sive chandelier, presented by Emp. Fred. Barbarossa. 

The Hotel de Ville, of the 14th cent. , stands on the site of 
the palace where Charlemagne was born. It is especially noted 
for the Congresses which have here been held, and the treaties of 
peace which have here been signed, particularly those of 1748 
and 1818. 

The Corn Exchange, probably of the 12th cent., is near the 
cathedral. 

The Springs, of which there are 8 located in the town and sub- 
urbs, are saline-sulphur, and of a temperature from 99° to 162°. 

Environs : Burtscheid, 1 ml. , celebrated for its baths ; Lous- 
berg, 2 mis., with delightful walks and a commanding view of 
the town; Frankenburg, 1 ml., a hunting-seat of Charlemagne, 
with a tower of his time still standing ; the place where, after 



AARE 5 

the death of Fastrada, his queen, Charlemagne sat for days gaz- 
ing in sorrow upon the lake. The pond is the lake in which, ac- 
cording to the legend, the magic ring of Fastrada was lost. 

Routea : To Cologne, 1.30 hr., $1.90; $1.40; see Route 19. To Brussels, 
4 hrs., $-2.40 ; $1.80 ; see Route 19. To Antwerp, 4 hrs., $2.60 ; $2.00 ; see Route 
17. Principal station on the s. e. margin of the city ; Antwerp station on the n. w. 

Aare Glaciers (glas'-e-a), Switz. ; the Unter-Aare and 
the Ober-Aare glaciers ; to the w. of the Hospice on the Grim- 
sel Pass ; on the first of which Professor Agassiz made his resi- 
dence, in 1841, for scientific observation. 

Abbotsford, Scot., the residence of Sir Walter Scott; 4 mis. 
from Melrose ; on the banks of the Tweed ; situation not espe- 
cially commanding. Carriages may be obtained at Melrose. Visi- 
tors admitted daily (ex. Sun. ; also closed in winter) to the Armory, 
Dining- Room, Breakfast-Room, Drawing-Room, and Library, 1 sh. 
Contains a collection of relics of exceeding interest ; principally 
presented to the Baronet. Visitors are always accompanied by 
the custodian, who designates each important article, rendering 
unnecessary any specification. 

Grounds not open to the public. Property now in the posses- 
sion of Mr. Hope-Scott, who married the granddaughter of Sir 
Walter. See Route 5, Note 5. 

Achilles (a-kil'-ees), the principal hero of the Iliad and of 
the siege of Troy; slew Hector and dragged his body to the 
ships. He was the handsomest and bravest of the Greeks, of 
whom he was the leader. Statue : Glyp., No. 60. 

Actseon (ak-tee'-on), myth. A celebrated hunter who, having 
beheld Diana and her nymphs bathing, was changed by the god- 
dess into a stag, and torn in pieces by his own hounds. 

Statue : Br. Mus. 165. 

Addison, Joseph, Eng., b. at Lichfield ; educated at Lich- 
field and Oxford ; wrote the Spectator at Shaftsbury House, W. 
Brompton; d. 1719, at Holland House, Kensington, London; lay 
in state in the Jerusalem Chamber, and was buried in Westminster 
Abbey, Chapel of Henry VII., n. aisle. Monument in the Poets* 
Corner, s. aisle, representing him in his dressing-gown and sur- 
rounded by the Muses. 

Adonis (a-doe'-nis), myth; beloved by Venus ; died from a 
wound received in the chase. From his blood sprung the ane- 
mone. So great was the grief of Venus at his death, that Adonis 
was permitted to spend 6 months of each year in the upper world. 



6 



ADOR 



and the remaining 6 with Proserpine in Hades, thus typifying 
summer and winter. 
Statues: Berlin. 104, 162; Naples, Capuan; Vatican, 396, *443; Spada, 66. 

♦Adoration of the Lamb, a celebrated painting by the van 
Eycks— in the Cathedral of St. Bavon, G-hent. It consisted of 
2 principal pictures, each covered with double panels ; in all, 24 











J. W. WVWWPfli 



Adoration — van Eyck. 

pictures. The upper central portion was of 3 sections, God the 
King, and on the sides, the Virgin and John Baptist ; on the in- 
side of the wings are angels singing, and Adam and Eve. The 
lower central portion is an extensive scene with the Lamb in the 
centre, and groups of martyrs and saints in the foreground, and 
towers in the distance. In the 4 sections of the wings are groups 
coming to worship. Beneath was a representation of Hell. The 
panels, when closed, presented 8 sections, in which were single 
figures of angels and saints. Altogether, there are exceeding 



vENEA 




Adoration {Closed). 



300 well-finished heads. The various parts of this picture are 
now dispersed, 6 panels being in the Berlin Museum (for which 
$75,000 were paid) ; 2, " Adam 
and Eve," in the Brussels Muse- 
um ; whilst the "Hell" is lost. 
The other portions remain in 
Ghent. Napoleon carried the pic- 
ture to Paris, but it was restored 
in 1814. Of all the works attri- 
buted to Hubert van Eyck, this 
alone is known to be genuine. A 
century after its completion, a 
copy was made for Philip II. of 
Spain. A second copy of the in- 
ner picture is now in the Antwerp 
Museum. 

"That this wonderful performance, 
when finished and exhibited, should have 
been looked at with exceptional interest, 
is not surprising. It was the finest pic- 
tare of the age in Belgium ; remarkable 
for its perfection of technical handling, 
and eminently calculated to captivate a public full of the fervor of religion. When 
open, it represented the "Sacrifice of Christ," and the 
"Triumph of the Church Militant;" when closed, it 
displayed, in prominent positions, the portraits of the 
donors." — Crowe and Caval. 

/Eneas (e-nee'-as), myth; son of Venus; 
the leader of the Trojans in the Trojan war. 
The hero of Virgil in his iEneid, who, fleeing 
from burning Troy, went to Italy and found- 
ed Rome. 

SEschlnes (ess'-ke-neez), an Athenian 
orator, B.C. 389. He delivered a celebrated 
oration against Demosthenes, to which the 
latter replied in his more celebrated oration 
"On the Crown." 

Statues: Cap., IV. 61; Hermit., 60 Naples, 572 
(315); ( ). **Marble statue, found at Her culaneum. 
It represents an Athenian orator, clad in a mantle with 
the r. arm across the breast, as if in the act of pronounc* 
ing an oration. 

" The noble statue of J3schines is the finest work 
of the whole collection, the grandest embodiment of high intellectual powei 
and calm dignity of character that ever was expressed in marble. The attitude 




JEsohines — Naples. 



8 



^ESCU 



the simple and expressive disposition of the drapery, and the elevated air oi 
the head, make this statue one of the most precious legacies which antiquity 
has bequeathed to us." — Hillard. 

^Esculapius (ess'-cu-la -pe-us), myth; 
the god of medicine whom Jupiter killed, 
fearing lest by his arts men might escape 
death. Represented with the serpent 
coiled around his staff; usually draped 
to the chest or shoulder. 

Statues: Berlin, 17, 41, 64, 76, 87, 276 ; Cap., III., 
5; Conserv., 86; Naples 123 (94); Tori., 92; Vat. 
(Br.), 17, (Chi.) 113, 444, 454. 

Agamemnon (ag'-a-mem'-non), 
myth ; married Clytemnestra ; a leader of 
the Greeks in the siege of Troy. Having 
killed a stag sacred to Diana, the goddess 
sent a pestilence into the army. To ap- 
pease her anger, Agamemnon consented to 
sacrifice his daughter Iphigenia, who, how- 
ever, at the moment of sacrifice, was res- 
cued by Diana herself. 

A g a s i a s (a-ga'-se-as) ; Hegasias, 
Greek sculp.: 1. Agasias, son of Dosi- 
theos, about 400 B.C., sculp, of the Bor- 
ghese Gladiator in the Louvre. II. Agasias, son of Menophilus 
of Delos, about 100 B.C. III. Agasias, father of Heraclides. 

Ageladas (aj-e-la-das), Greek sculp., 540 B.C. ; the instructor 
of Phidias, Myron, and Polycletus. 

Agesander (aj'-e-san'-der), of Rhodes, who, with his sons 
Polydorus and Athenodorus, sculptured the Laocoon. 

Agnes, St., 304 a.d. ; a Roman maiden, who, declining the 
suit of the son of the prefect, was ordered to become a Vestal 
Virgin. Declaring she would serve none but the Lord, she was 
sent to a house of infamy, where the soldiers stripped her of her 
garments. Praying for protection, her hair immediately grew 
and covered her whole person. The prefect's son now coming in, 
in answer to her prayers, he was struck with instantaneous blind- 
ness. Upon this she was condemned to be burned, but the flames 
did her no harm, whilst they consumed her executioners. At 
last an end was made to her life by the sword. She was buried 
where the Ch. of St. Agnes now stands, beyond the Porta Pia, 
Eome. Usually represented with a lamb. 




iEscuIapius — Berlin. 



AGNE » 

Agnes, St., Catacombs of; Rome; 1 ml. beyond the 
Porta Pia, and i ml. beyond the ch. of St. Agnes. Stairway sup- 
posed to be of the time of Constantine. The galleries are hol- 
lowed into loculi of various sizes. Farther on will be observed a se- 
dia, or seat of the priest, cut in the rock ; an altar, a credence table, 
and many paintings. Few of the sarcophagi now contain remains. 

Agnes, St., Fuori le Mura, ch., .Rome; 1 ml. beyond the 
Porta Pia. One of the least changed of the ancient churches of 
Rome. Founded, 324, on the spot where the remains of St. Agnes 
were discovered. Recently restored, and now one of the most 
beautiful churches of the city. The festival of St. Agnes takes 
place on Jan. 21st, in which occurs the ceremony of blessing two 
lambs, placed upon the altar and decorated with flowers. 

Agonal is (ag-o-nay'-lis), Circus, Home ; the modern Piazza 
Navona, which still shows the elliptical outline ; built by Alex. 
Severus. See Navona. 

Agostino, S. (ag-os-tee'-no) ; ch., Home, 1483, restored 1740, 
contains a * fresco, Isaiah and 2 angels, by Raphael, on the 3d 
pilaster on the 1. of the nave. R. transept is St. Augustin by 
Guercino ; near the entrance is a * group of the Virgin and Child, 
by Sansovino. The Madonna over the high altar is a Greek work 
from Constantinople. This was the first Roman ch. with a dome. 

Agrippa, M. V., b.c. G3-12, Roman Consul. Commanded 
the fleet at Actium ; built the Pantheon, B.C. 27 ; married Julia, 
dau. of Augustus, by whom he had 2 daughters, Julia and Agrip* 
pina, and 3 sons. Baths op, see Pantheon. 

Agrippina (ag-re-pi-nah) ; (I.), dau. of Agrippa and Julia, 
gd. dau. of Augustus, wife of Germanicus, mother of Caligula 
and Agrippina II. ; starved by Tiberius. Agrippina (II.), mother 
of Nero ; married Emp. Claudius, whom she poisoned to make 
way for her son, A. d. 54. Assassinated by Nero in 59. 

Aix-les-Bains (akes'-lay-bafl ; warm springs), Fr. ; the Ro- 
man Aquae Allobrogum, or Aquge Gratinas ; pop. 4,000. Trium- 
phal arch erected by L. Pom. Campanus in 3d or 4th cent. Tem- 
ple of Diana in the Presbytery garden. See Route 40, Note 3. 

Aix-la-Chapelle (akes'-la-sha-peV). See Aachen. 

Aj ax, Greek. In the Trojan war, second only to Achilles ; 
conquered by Ulysses. 

Statues : Naples, 246. 

Aiban Hills, Ital., about 18 mis. s.e. of Rome, site of Alba 
Longa ; on the summit was the temple of Jupiter Latiaris. 
1* 



10 ALBA 

Albani, Francisco (ai-bah'-nee), or Albano ; 1578-1660, 
Bologna. Friend of G-uido. Studied in the Seh. of the Carracci ; 
assisted An. Carracci to decorate the Farnese Palace. He after- 
ward decorated the Verospi Palace, now Torlonia, and painted in 
Turin and Bologna. Subjects are landscapes and figures, both re- 
ligious and mythological. The latter was especially adapted to his 
talent, which had more of beauty and grace than power. He de- 
lighted in painting children, disposing them in groups about the 
principal figures. His religious pictures are numerous. His espe- 
cial favorite was an Arcadian landscape with gods, goddesses, 
and amori in repose ; his skies are usually a deep blue. 

His works are to be found in all the principal galleries. 

Pkincipax, Works: Bolog., !Nos. 1,82; Borgh., 11-14, The Seasons: Brera, 
323, 459; Cap., 9, 142; Dresd., 494-5-6-7, 500-2; Hermit., 203-4; Louvre, 1, 2, 
11, 12 ; Munich, 1235 ; Turin, 260-4, 271-4 ; TJff ., 1044, 1094. 

Albani Villa (al-bah'-nee), Borne. Tu . by permit from Palace 
Torlonia, Piazza Yenezia, No. 135. The Albani family having dis- 
pleased Napoleon I., he caused 294 of the finest statues of their 
collection to be carried to Paris, which, though restored to the 
family by the treaty of 1815, were never brought back. This 
collection, now scattered, was the basis of Winckelmann's studies. 
The present collection embraces a limited number of fine works. 

Albano (al-bah'no), ItaL; on the Alban Hills, 18 mis. from 
Rome, on the Via Appia ; modern town built on the ruins of the 
villa of Pompey. 

Albert Hall of the Arts and Sciences, Lond., opposite 
the Albert Memorial, Hyde Park. Seats for 15,000; used for 
grand concerts and exhibitions. 

** Albert Memorial, in Hyde Park, Lond. ; erected to the 
memory of Prince Albert ; one of the most imposing monuments 
in the world. It is in the form of a Gothic canopy surmounted by 
a spire rising to the height of 175 ft. Under this canopy is a gilt 
bronze sitting stat. of the Prince Consort, 15 ft. high. The 
monument is supported by a base 130 ft. sq. , approached on the 
four sides by steps. 

Upon the corners of the base are four fine marble groups : 
** Europe, by McDowell; Asia, by Foley; Africa, by Theed ; 
and ** America, by Bell. Above these are smaller groups : Agri- 
culture, by Marshall ; Manufactures, by Weeks ; Commerce, by 
Thornycroft ; Engineering, by Lawlor. Around the basement, 
above the steps, are over 200 life-size figures of renowned artists, 
philosophers, scholars, and authors. 



ALBE 11 

Aibertvilie, Fr., 14 mis. by rly. fom Chamouset, on the 
Paris-Turin Rly. Pop. 4,500. Carriage-road to Sallanches. 

Alemanni (al-e-man'-ni), a confederation of German tribes 
from the Danube to the Main, who first met the Romans in the 
time of Caracalla. 

Aletsch Glacier (ah-letsh' glas'-e-a), Swits., amid the 
peaks of the Bernese Oberland ; extending 15 mis., and being the 
largest ice-field of the Alps. Fine view of the glacier from the 
Furca and the Simplon Passes. Approached from Brieg, Inter- 
laken, and Meiringen. 

Alexandra Palace, Lond.; a popular resort for amuse- 
ment. Muswell Hill, 6 mis. from Lond. by rly. from Moorgate 
Street Station. 

Aifani (al-fah'-nee), Dominico di Paris, 1483-1554 ? b. 
Perugia, Ital. Pupil of Perugino. Little originality. 

Alhambra. See p. 571. 

Allori (al-lo'-ree), I. Alessandro, 1535-1607, b. Florence. A 
painter of portraits and horses. II. Angiolo, called Bronzino. 
III. CitrsTOFORO, 1577-1621, son of I. : painter of portraits and 
landscapes. He executed a number of pictures for the Medici. 
His most celebrated work is the Judith, in the Pitti, No. 69. 
Replicas exist in the Belvedere and Uffizi. His portraits are re- 
markable for beauty of color, and he was equally happy in his 
landscapes. Some of his copies of Correggio's Magdalen for a 
long time passed for duplicates by the master himself. The 
Uffizi has 16 Al. Alloris, and 9 Cr. Alloris. 

Alps, The. The principal divisions of this extensive range 
of mountains are the Maritime Alps, extending from the Mediter- 
ranean Sea, near Nice, to Monte Viso against the sources of the 
Po ; the Cottian Alps, from Monte Viso to Mt. Cenis ; the G-raian . 
Alps, from Mt. Cenis to Mt. Blanc ; the Pennine Alps, from Mt. 
Blanc to Monte Ptosa ; the Lepontine Alps, from Monte Rosa to 
Mt. Bernardin ; the Rhetian Alps, from Mt. Bernardin to Mt. 
Croce ; and the Carnic Alps, from Mt. Croce to the river Mur, 
constituting the Central Chain. Also a northern branch, compris- 
ing the Bernese Alps, extending from Mt. Blanc to Lake Lucerne ; 
the Alps of St. Gall, from Lake Lucerne to Lake Constance ; and 
the Noric Alps, from Lake Constance eastward to Vienna. 

The Alps are divided into the Low Alps, i.e., below 5,500 ft. in height; the 
Middle, 5,500 to 8,000 ft., and the High, above 8,000 ft., o? above the snow. 
hue. 



12 AMBR 

The Principal Peaks of the Central Chain are : 

Dom Alt. ft. 14,941 

Gt. Matterhorn k ; " 14,705 

Monch Alt. ft. 13,468 

Schreikhorn " " 13,386 

Eiger " " 13,041 



Mont Blanc 




. .Alt. ft. 


15,781 


Monte Rosa 




i • I* 


15,364 


Of the Bernese 


Alps : 




Finsteraarhorn . . 




..Alt. ft. 


14,026 






a n 


13,773 


Breithorn 




ti >t 


13,685 






a u 


13,671 



Principal Passes over the Central Chain are : 

French. — The Cornice Road, from Nice to Genoa, along the Mediterranean. 
The Mont Cenis, from Modane to Susa, road built by Napoleon, 1802; alt., 6,950 
ft. ; little used at present, from the mountains being tunnelled for the railway. 
The Little St. Bernard, from Chambery to Aosta ; alt., 7,240 ft. ; probably the 
route of Hannibal, B.C. 218. 

Swiss. — The Great St. Bernard, from Martigny to Aosta; alt., 8,110 ft. Little 
used at the present time. The Simplon, from Brieg to Milan; alt., 6,594ft.; 
see Route No. 35. The St. Gothard, from Lucerne to Milan ; alt., 6,936 ft. ; see 
Route No. 25. Now tunnelled for the Gothard railway. The Bernardino, from 
Coire to Lake Maggiore ; alt., <». ""S ft. The Spliigen, from Coire to Milan, via 
Como ; alt., 6,945 ft. ; see Route No. 29. 

Austrian. — The Engadine, from Innsbruck to Como; alt., 5,941 ft. The Stel- 
vio, from Innsbruck to Como; built 1820, by Austria; alt., 9,045 ft., being the 
highest pass over the Central Chain traversed by a carriage-road. The Brenner, 
from Innsbruck to Verona, the only pass over which a railway is carried ; alt., 
4,485 ft. ; see Route No. 58. 

Passes of the Bernese Alps. 

Among the more noted Bernese Passes are : The Briinig, from Lucerne to Inten 
laken ; fine carriage-road ; alt., 3,395 ft. ; see Route No. 30. The Col de Balme, 
from Martigny to Chamonix ; mule-path ; alt., 7,231 ft. The Col de Forclaz, from 
Martigny to Chamonix ; carriage-road ; alt., 5,020 ft. ; see Route No. 37. Th{ 
Furca, from Andermatt to Brieg, along the valleys of the Reuss and Rhone ; car- 
riage-road, passing the **Rhone Glacier ; alt., 7,992 ft. The Gemmi, from Thuu 
to Leuk ; bridle-path ; alt., 7,553 ft. ; fine view of the Rhone Valley. The Grim- 
sel, from Meiringen to the Furca, passing the **Falls of Handeck ; bridle-path; 
alt., 7,103 ft. 

Ambro'-gio, St. (-zhee-o), ch. Milan; founded in the 4th 
cent, on the ruins of a temple of Bacchus. Present structure 
dates from the 12th ceut. Chiefly noted as being the place of the 
coronation of the Lombard kings and German emperors. After 
the time of Fred. Barbarossa (1180), the crown was kept at Mon- 
za, where it now remains, it having been used at the coronation 
of 34 kings, Emp. Ch. V., and Napoleon I. 

Amiens (ahm-i-an), Fr.; pop. 67,000; ancient capital of 
Picardy. **The Cathedral, 1220, is one of the finest in Europe; 
spire 422 ft. ; towers unfinished ; three rose windows nearly 
100 ft. in circ. The 116 carved wood stalls are unsurpassed by 
any known. The head of John Baptist is claimed among the 



AMPH 13 

relics. In this cathedral Edward III. paid homage to Philippe of 
Valois, 1329 ; Chas. VI. married Isabeau, 1385 ; and the treaty of 
Ed. VI. of Eng. and Henry III. of Fr. was signed, 1550. 

Amiens was the birthplace of Peter the Hermit, whose statue 
stands in front of the cathedral. The city was captured by the 
Spaniards, 1597; retaken by Henry IV., 1598 ; taken by the Ger- 
mans, 1870. G-ambetta here descended in the balloon by which 
he escaped from Paris, Oct., 1870. 

Am -phi -on, myth, son of Jupiter and Antiope ; married 
Niobe. See Farnese Toro. 

Amphitheatrum Castrense (am'-fe-the-a-trum), Rome. 
Upon the s. side of St. Croce in Gerusalemme, incorporated into 
the city wall, are 16 brick arches of this theatre. It is supposed 
to have been built in the time of Tiberius, for the amusement 
of the Prastorian Guard. 

Am-phi-tri'-te, myth, wife of Neptune, mother of Triton. 

Am'-pho-ra, a vessel with a long, narrow neck, and handles 
or> either side; pointed at the base, that it might be thrust into 
the ground to stand. Used for wine, oil, and other liquids. 

Amsterdam, Hoi. Lat. 52° 22' ; Lon. 4° 23' E. ; on 90 islands 
connected by 250 bridges; pop. 322,000. The dam across the 
Amstel, whence its name, was built about 1205. The prosperity 
of the city dates, however, from the misfortunes and decay of 
Antwerp under Spanish tyranny and the Inquisition. 

The Dam is the centre of business, around which are the 
Palace, the Exchange, and the New Church. In the centre 
rises the Fountain Monument, erected 1856, in honor of the 
Dutch soldiers who fell in the war of 1830. 

Principal Places of Interest: the Palace, **Rijks Museum, 
Museum van der Hoop, the Fodor Museum, and the Zoological 
Garden. 

The Palace, formerly the Stadthuis, 1648, was constructed 
upon nearly 14,000 piles, and is the finest building in the city, 
having numerous apartments finished in white marble. It has 
many battle-flags and a few pictures. It is the residence of the 
king when in the city. 

The Churches, despoiled of their decorations in the Refor 
mation, now possess little interest. Gentlemen, during service, 
sit with hats on or off, at pleasure. 

Art Galleries. **Rijks (Royal) Museum. See Part II., 
Amsterdam, Rijks. 



ANDR 15 

The Fodor Museum, principally modern works. Daily, ex. Tu., 
small fee. 

The Zoological Garden, one of the best in Europe, is open 
daily in summer, 6 a.m. -10 p.m. 50 c. 

Routes: To Rotterdam, \% hrs., $1.50: $1.14. To The Hague, \}i hrs., 
$1.25 : $1. To Antwerp, 3% hrs., $3.75 ; $2.86. Principal station on the .s.e. 
margin of the city. 

Andrea delta Fratte, S., ch. Rome, via da Capo di Case. 
In 2d chapel, r. is a mon. to Lady Falconet, by Miss Hosmer ; 
on the last pillar, r. , tomb of Schadow, the sculptor ; in 3d 
chapel, 1., tomb of Angelica Kauffman. 

Andrea deila Val!e, St., ch. Borne, 1591, near the Piazza 
Navona ; celebrated for the frescoes by Domenichino, in the tri- 
bune — among his finest works. The church and adjacent houses 
are supposed to stand on the ruins of the Theatre and the Curia 
of Pompey, the place of Caesar's assassination. 

Andrew, St., represented leaning on his cross, with a book 
in his hand. Patron saint of Scotland, Burgundy, and Russia. 

Angels, S. M. degli (dale'-ye), ch., Piazza di Termini, one of 
the most imposing in Rome, arranged by M. Angelo, 1555, out of 
the great hall or Cella Calidaria of the Baths of Diocletian. It 
has since been much altered. The pavement is now 8 ft. above 
that of the Thermae, and the columns are buried to that extent, 
only 8 of which are antiques. In the vestibule is the tomb of 
Salvator Rosa. 

In the Transept, r. *statue of St. Bruno, by Houdon, of which 
Clement XIV. said : " It would speak, if the rules of his Order 
did not prescribe silence." 

*' I thought it good, but scarcely worthy of vast admiration.'' — Hawthorne. 

Of the many paintings, Domenichino's St. Sebastian is among 
the most noted. 

" I think this really a great picture.'" — Hawthorne. 

Angeiico, Fra, Guido di Pietro da. Fiesole (fee-a'-so- 
lay), Giovanni, 1387-1455 ; b. at Viccio, Italy. Painted only 
devout and saintly subjects, for which he would accept no remu- 
neration. His works are wrought with the greatest care and ex- 
quisite finish. 

His coloring is pure, clear, delicately softened, and admirably 
adapted to the serene, saint-like expression he sought to deline- 
ate. He possessed no facility in representing malignant passion. 
*The Madonna in the Uffizi, No. 17, surrounded by an arch of 



16 



ANGE 



twelve angels, with the predella and wing pictures, forms one of 
the most exquisite of his works, and one of his best known. 
Formerly in a room upon the east corridor ; now in a small room 

leading from the west corridor. 

Died at Rome, entombed in the ch. 

of S. M. Sopra Minerva. 

" His angels are the purest type to which imag- 
ination has consented. By no other hand are 
these beings of another sphere depicted so genu- 
inely as the gentle guardians of man." — Liibke. 

" How the kingdom of heaven, the home of the 
angels, saints, and blessed ones, was mirrored in 
the devout imagination of that early time, we 
learn most accurately and completely through 
him, so that his pictures will ever remain of the 
highest worth to history." — Burckhardt. 

" Never in the whole range of pictorial art have 
the inspired fervor of Christian feeling, the an- 
gelic beauty and purity of which the soul is capa- 
ble, been so gloriously interpreted." 

"I remember an 'Annunciation' by him in 
Perugia, in which the Virgin is candor and gen- 
tleness itself ; and how beautiful the two hands 
so piously clasped ! Alongside of this is the ' Na- 
tivity ; ' before the delicate infant Christ, with 
dreamy eyes, two angels in long robes offer flow- 
ers ; they are so youthful, and yet how grave ! 
These are the delicate touches which subsequent 
painters are not to recover." — Taine. 

Principal Works : Flor. Acad., I. 34 ; II. 10, 
22 ; III. 11, 19, 20, 24, 40, 41 ; Louvre, 182 ; 
Madrid, 14 ; Parma, 429 ; Pitti, 373 ; Turin, 93-4 : 
Uffi., 17, 1162, 1184, 1290, 1294; Vat., two pictures. 

Angelo, Michael, Michelagnolo Buonarroti, 1475- 
1564; was born at Castel Caprese, near Arezzo, Italy. Early 
placed under the instruction of Ghirlandaio, his genius soon be- 
came so apparent that Lorenzo de Medici, Governor of Florence, 
invited him to reside and pursue his studies in his palace. At 21 
he was invited to Rome, where he executed the Drunken Bacchus, 
now in the Uffizi. La Pieta in St. Peter's followed, and made him 
not only famous, but gave him rank as the first sculptor of his 
time. Returning to Florence, he completed a Madonna, now at 
Bruges, and at the same time painted his Holy Family, now in 
the Tribune, Florence. 

At 26 he commenced his David, and, though doing all the work, 
it was completed in four years. At 30 he was called to Rome 




Angel — Fra Angelico. 



ANGE 



17 



by Pope Julius II., and commenced a celebrated Mausoleum to 

be erected in St. Peter's. 

A misunderstanding- having arisen between him and the Pope, 
he returned hastily to Florence, where, whilst it was being ad- 
justed, he sketched his celebrated cartoon of ; ' Soldiers Bathing." 
A reconciliation having been effected, the Pope called Angelo 
to Bologna, where he commissioned him to erect a colossal bronze 
statue of the Pope. Afterward he was called to Borne to deco- 
rate the Sistine Chapel. In 
these paintings the advance 
upon the style hitherto preva- 
lent is so marked that they 
may be said to introduce the 
epoch of modern painting. The 
subjects are chiefly Biblical. 
In 1513 he resumed work on 
the Mausoleum and completed 
his Moses, now in S. Pietro in 
Vincoli ; and nearly finished 
the Slaves, now in the Louvre. 
For some years the country 
was disturbed, and Angelo was 
much disheartened. In 1524 
he commenced work upon his 
two celebrated statues of the 
Dukes de Nemours and d'Ur- 
bino — Giulio and Lorenzo de Medici — when political disturbances 
put a period to further labor. Six years later, peace having been 
restored, he resumed his chisel, and in a few months the four 
colossal figures, Day and Night, Morning and Evening, were 
wrought out. In 1534, at the pressing demand of Pope Paul 
III. , Angelo commenced his Last Judgment in the Sistine Chapel, 
upon which he continued G years without assistance. When he 
had reached the age of 70 he was commissioned as the architect 
of St. Peter's. His last work was the construction of a church, 
the S. M. degli Angeli, from the ruins of the Baths of Diocletian, 
He has two paintings in the Uffizi, No. 290, and No. 1139 — the 
last, the only finished picture of his known. 

He died in Rome, 1475, at the age of 89, and is entombed in 
Florence in the Church of Santa Croce. He was never married, 
but in his later life became deeply attached to Vittoria Colonna. 




Michael Angelo. 



18 ANGE 

"Urged on by a strong subjective impulse, he scorned to follow the laws of archi- 
tectural creation, composed only on a grand scale, aimed at a strong general effect, 
and cared little for the form of the details.'' 1 — Lilbke. 

"Beauty, repose, symmetry, and grace, he eschewed ; expression and individu 
ality he aimed not at ; detail of drapery or ornament he scorned. We arrive, 
therefore, at some estimate of the stupendous nature of that power and subjective 
instinct which, in the absence of all these qualities, still takes our admiration by 
storm . ,1 — Kugler. 

See Moses, Sistine Chapel, Last Judgment, and Medicean Chapel. 

*Angelo, House of, near S. Croce, Florence, via G-hibellina, 
M. and Th. , 4- fr. ; contains many sketches, designs, and models 
by Angelo. Bust in bronze taken after death. 

Angelo, S.j, Castle of, Borne ; the tomb of Hadrian, by 
whom it was erected, a.d. 130. It is a circular tower upon a 
quadrangular base, in imitation of the tomb of Augustus. Origi- 
nally the tower was two stories in height above the base, and was 
covered with Parian marble. The remains of Hadrian, Lucius 
Verus, the Antonines, M. Aurelius, Commodus, and Sept. Severus, 
were deposited here. 

In 498 the Pope removed the bronze fir-cone to St. Peter's, 
afterward to the Museum of the Vatican. In 423 the tomb was 
converted into a fortress ; 537, besieged by Vitiges, and in the de- 
fence, its statues and cornices were hurled down upon the be- 
siegers. From the 9th to the 13th century it was the stronghold 
of the popes, and was the scene of constant intrigue and crime. 

Beatrice Cenci was confined here for 12 months before her ex- 
ecution. As now seen, only the basement is of the structure of 
Hadrian. The tower was erected by Urban VIII. , and the top 
added by Paul III. There is little to be seen within. 

Anna, St=, the mother of the Virgin Mary. Her reputed 
body was brought to Constantinople from Palestine, 710. 

Anthony, St., Egyptfibl. Renouncing the world, he lived so 
pure and holy a life, as a hermit, that Satan sent demons to tempt 
him. These assumed the forms of dragons, imps, scorpions, 
monsters, and lovely women — all to no purpose. The Temptation 
of St. Anthony is a favorite subject of Teniers. 

Ant! nous (an-tin'-oo-us), a youth of great beauty, the favor- 
ite and companion of Hadrian; drowned in the Nile, a.d. 122, 
and, by order of Hadrian, enrolled among the gods. 

Bas-Relief : Villa Albani ; **Antinous Crowned. 

" After the Apollo and the Laocoon, this is perhaps the most beautiful monu- 
ment which time has transmitted to us." — Winckelmann. 

Statues: Berlin, 236, 263-4-5; Br. Mu., 20; Cap., I. **13; VI. 54; Louvre 
' ); Naples,* 194 (114), 349; Vat., 540, 545; Laterau, *head. 



ANTI 



19 



*The Antinous op the Capitol, Hall of the Gladiator, No. 
13. was found at Hadrian's Villa, 1730. 

''This exquisite statue has commanded the admiration of all critics by its 
exceeding beauty." — Murray. 

'"The statue of Antinous is not merely beautiful, but it is beauty itself. Like 
all his busts and statues, the expression is that of Elysian beauty, melancholy 
grace. He has the air of a man ever looking into his 
own grave. The limbs, the figure, the turn of the 
head, which droops as if with a weight of unshed tears, 
are so admirable that they can only be praised in su- 
perlatives. He wears an air of languor and satiety, 
a.^ if he were weary of the sunshine in which he bask- 
ed, and felt the serpent's sting under the flowers. — 
Hillard. 

** Vat. Gall, of Sculp. No. 540, a colossal 
stat.,nude, in a pensive attitude, with both 
arms extended downward, and the left 
foot partly raised. Somewhat resembles 
Meleager. Hair knotted in the Roman 
style. The drapery, the original of which 
was probably of bronze, is a modern restora- 
tion of inferior marble. Formerly known 
as the Braschi Antinous. Found at Pales- 
trina, 1773. 

" Characterized by an expression of thoughtful mel- 
ancholy in the drooping head, by brows overshadowed 
by clustering curls, and by a suggestion of sadness in the curve of the voluptuous 
mouth."' — Li'ibke. 

Vat. Gall, of Sculp. No. 545, bust, found at Hadrian's Villa, 1790, 

An-ti -o-pe, myth, mother of Amphion and Zethus, wife of 
Lycus, King of Thebes. See Farnese Toro. 

An-to-ni'-nus, M. Aurelius, Column of. See Avrelius. 

Antoninus Pius. Rom. Emp., a.d. 138-1G1 ; one of the 
best rulers that ever sat upon a throne. His reign was a sus- 
pension of war, violence, and crime. 

Antony, Marc, Antonius : Borne, b. B.C. 83. His mother 
was Julia, sister of Julius Caesar. He pronounced the oration 
over Cassar's body ; was one of the Second Triumvirate ; became 
enamored of Cleopatra : being defeated at Actium by Augustus, 
he put an end to his own life, B.C. 30. 

Antwerp (on the wharf), Antwerpen, Anvers, Belg., is 
situated on the Scheldt, GO mis. from the sea. In the 16th 
cent. Antwerp was the leading commercial city of Europe, having 
a thousand business firms, and the Scheldt often floating at one 




Antinous — Vatican. 



20 ASTW 

time not less than 2,000 ships. Since that time the city has ex- 
perienced numberless misfortunes from civil and religious wars, 
jealousy, and tyranny. In 1790 the population, which two cen- 
turies before had reached 200,000, numbered but about 40,000. 
Under Napoleon the domination of the Dutch was broken, 1794, 
and Antwerp began to recover that importance as a seaport which 
her excellent situation naturally bestows. At the present time 
her pop. is upward of 160,000, and the number of vessels visiting 
her port nearly 6,000 annually. 

In Art, Antwerp is second only to Florence, claiming among 
her distinguished masters, Rubens, van Dyck, Q. Matsys, Teniers, 
Jordaens, de Crayer, and Snyders. 

Principal Objects of Interest : The Cathedral, the Museum, 
the Churches of St. Paul, St. Andrew, St. Jacques. 

The visitor, however, will find in the general appearance of 
the old city, its narrow, crooked streets, its quaint architecture, 
and the peculiar dress and manners of the laboring classes, an 
unfailing source of interest. 

**Tiib Cathedral. — This great Gothic structure is the chief 
attraction of the city. It is nearly 400 ft. in length, 175 in 
width, or 215 including the transepts, having six aisles. The 
tower is 402 ft. in height, and has a chime of 82 bells. The 
building was commenced in 1322, and completed in the 16th 
cent. Except upon the s. side, it is so hemmed in that no satis- 
factory view of its massive proportions can be gained. 

* The Interim 1 . — Admission until 12 and after 4, free, but the 
great pictures are not then shown. From 12-4, adm. 1 fr. Sun- 
day free. Entrance is usually made from Place Verte, on the 
south, to the S. Transept, which contains **Rubens's Descent 
from the Cross, regarded as his master-piece. See Descent. On 
the wings, inside, are the Salutation and Presentation ; outside, 
a Hermit and St. Christopher carrying the infant Jesus. Here 
is also a St. Francis, by Murillo. 

Over the high altar is the Assumption, painted in 16 days. 
In the N. Transept is the *Elevation of the Cross, both by Rubens. 
The second Chapel, near the S. Transept, contains his * Resur- 
rection. 

The Choir-Stalls are very richly carved, illustrating, on the s. 
side, the history of the Virgin ; on the n. side, that of Christ. 
Pulpit of wood is elaborately wrought. In the n. aisle, near the 
principal entrance, are several life-size statues in wood. At the 



ANTW 



21 




c^Nortfi. 



Antwrrp. 



South. 



22 APEL 

upper end of the same aisle, on a pillar, is a Head of Christ, on 
marble, by da Vinci. 

In front of the Catliedral, upon an iron canopy over a well, is 
Quinten Matsys' iron statue of Brabo, the legendary hero who cut 
off the hand of the giant Antigonus. 

Andrew, St., Ch. of, contains a very elaborately *carved 
wood pulpit, representing the Calling of Peter and Andrew. The 
figures are of life-size, standing in a boat ; beside them is the 
net with fishes. 

Jacques, St., Ch. of (zhack), 1429, contains chapels and burial- 
vaults of the most distinguished families of Antwerp. Tomb of 
Rubens in the Choir, back of the high altar. The altar-piece was 
painted by Rubens expressly for this purpose. St. George is the 
portrait of himself ; Martha and the Magdalen, of his two wives ; 
St. Jerome, of his father ; Time, of his grandfather ; the figure 
in blue, of his niece, whilst his son figures as an angel. 

The Steen in Kas Str. , on the river bank, formerly a prison, 
is now a Museum of Antiquities, consisting of armor, furniture, 
carved work, instruments of torture, etc. The dungeons and 
cells of torture are an interesting, though horrible exhibit of 
medigeval civilization. 

Museum ; see Part II., Antwerp. P. 419. 

In Place Verte, on the s. side of the Cathedral, is a bronze 
statue of Rubens. 

The House of Rubens is upon Place Mier, No. 52, a short 

distance beyond the Royal Palace, upon the top of which may be 

seen his bust. 

Routes, : To Brussels, 1 hr., $0.75 ; $0.60 ; see Route 36. To Rotterdam, 
3 hrs., $2.20 ; $1.75. To Cologne, 1% hrs., $5.40 ; $4.10 ; see Route 1G to Brus- 
sels, and Route 19 Brussels to Cologne. To Paris, "t% hrs.. $8.40 ; $6.S5 ; see 
Route 16 to Brussels, and Route 18 Brussels to Paris. To London, via Ostend- 
Dover, 11 hrs., $12.00 ; $8.00 ; see Route 16 to Brussels, and Route 11 Brussels to 
London. By steamer, direct, 20 hrs., $6 : see Route 10 A. Via Harwich, 14 hrs., 
$6.25; $5.95; see Route 10 B. Via Flushing-Queenboro, 16 hrs.. $G ; $5; see 
Route 10 C. Union station for all rlys., on the e. margin of the city. 

A-pel'-les (-lees), the most celebrated painter of Greece. 
The only one by whom Alexander the G-t. would permit bis por- 
trait to be painted. No work of his uow remains. 

Apennines, MtS., Ital. , extending the entire length of 
the peninsula, from Nice to the Straits of Messina. G-enerally 
barren, and above the altitude of 3,500 ft., devoid of forests or 
vegetation. They yield few metals, but have extensive deposits 



APHR 



23 



of salt near Cosenza, and of marble at Carrara, Serravezza, and 
Siena. Highest point, Monte Corno or Gran Sasso, near the e. 
coast, opposite Rome, attains an altitude of 10,206 ft. 

Aph-ro-di'-te. See Venus. 

Apollo, myth, son of Jupiter and brother of Diana. His 
special powers were to punish, to help, and to protect. He was 
the god of prophecy and song, and hence called Musagetes, the 
leader of the Muses ; and also Cytharcedus, the lyre-player. He 
was the protector of flocks and cattle, the founder of towns, and 
the god of the sun. 

Statues : Berlin, 11, 51, 82; 103, 119, 122, 235-9, 242, 260 ; Borgh. Villa, V. 
( ), VIII. 4 ; Br. Mu., 105, 115 ; Cap. III. 15, 20 ; Glyp., 41, 97 ; Louvre, 75-6 ; 
Naples, 86 (92), 527 (262), 528 (263) ; Vat. (Br.), 95, **92 Belvedere. 

** Apollo Bel-ve-de'-re, stat. in the Vatican Gallery, No. 92, 
the chef-d'oeuvre of the collection ; found in Nero's Palace, Rome, 
near the end of the loth cent. Although it has held the place 
of the finest piece of sculpture known, it is believed to be a copy 
of a bronze, probably by Calamis. 

Represented nude, with his chlamys thrown back over both 
shoulders and partly on the left arm ; standing upon the right 
foot, the left nearly raised, the 
right hand spread, the wrist rest- 
ing upon the trunk of a tree up 
which a serpent is crawling; the 
left arm extended and the hand 
grasping a fragment of some un- 
known object. The pose and ex- 
pression are those of expectancy. 

From the time of its discovery 
to the present, the purport of this 
statue has been a source of almost 
uninterrupted discussion. The ear- 
lier solution was that the left hand 
held a bow, and that having just 
discharged his arrow, he was in- 
tently watching its flight. This 
theory was, however, set aside by 
the discovery of another statue, 
now in the St. Petersburg Gallery, 1792, almost identical in action 
and position, displaying in his left hand an regis with the head 
of Medusa, the emblem of thunder, lightning, and earthquake. 




ApoUo Belvedere — Vatican. 



24 



APOL 



This rendered it probable that the statue was in commemoration 
of the defeat of the Gauls, B.C. 280, in their attempt at the pil- 
lage and desecration of the temple of Delphi, when in the midst 
of the struggle Apollo appeared, and, shaking his asgis before the 
face of the enemy, struck terror into their hearts. — Iliad, xv., 318. 

With regard to the origin of the statue, little is known upon 
which even to base conjecture. It is thought to have been 
brought, along with 500 others, from Greece, by Nero. 

Both arms are restorations by Montorsoli, pupil of M. Angelo. 

"Too fair to worship ; too divine to love." 

" The Apollo lias a face which. I have never seen in any cast or copy." — Haw- 
thorne. 

" There is something wonderfully striking, bold, and full of action in the im- 
pression that the work produces. Schnaase rightly calls the Apollo the most bril- 
liant piece of sculpture of ancient times." — Liibke. 

"There is — shall I speak the word — a little of the fine gentleman about the 

Apollo, and in the expression there seems 
to be a gleam of satisfaction reflected from 
the admiration which his beauty awakens. 
There is not enough of the serene uncon- 
sciousness of the immortal gods. There are, 
doubtless, finer statues in the world than the 
Apollo, but there are none more fascinating. 
In this statue, more than in any other work 
in marble, we recognize the grace and ani- 
mation of a living form — a sympathetic 
charm which every one can feel." — Hillard. 

Statues: Br. Mu., No. 114, found at Gy- 
rene, 1861, in 123 fragments ; similar to 
those in the Cap. Mus. and Naples. 

Apollo Cytharoedus (sith- 

a-ree'-dus), stat., Vat. Hall of Mu- 
ses, No. 516, in a long, flowing 
robe, playing a lyre ; copy of origi- 
nal by Scopas ; found at Tivoli. 

Stat. Glyp. No. 90, for a long time 
known as the Barberini Muse. 
Regarded by Winckelmann as a 
model of the Greek style of the 
epoch preceding Phidias. This 
about a.d. 200. The r. arm and 1. 




Apollo Cytharoedus — Munich. 



stat. is believed to date 
hand are restorations. 

Statues : Berlin, 6, 68, 112, 997; Br. Mus., *114, 138; Glyp., *90 ; Cap., I. 2, 
III. 8; Nap., 242, 509 (244), 92 (67), and a green basalt; Tori., 280 ; Vat. (Ch.), 
242 (P. C), 395, 380, 516, 582. 



APOL 



25 




Apollo Sauroktonos — 
Louvre. 



'"Apollo Sauroktonos (saw-rok'-to-nos : lizard-MUer), stat. 
in the Louvre ; copy of original in bronze by Praxiteles ; found on 
the Palatine Hill, 1777. The youthful god, 
with his right hand partly extended and his left 
resting against a tree, is watching a lizard climb- 
ing, which he is about to thrust with an arrow. 

Statues : Alb. Villa, * bronze, 952 ; Louvre, 70 ; Vat., 
2(54. 

The bronze in the Albani Villa is regarded by 
Winckelmann as the original of Praxiteles. 

**Apollino, or Young Apollo, stat. in 
tne Tribune, Uffizi, No. 345, called the Apollino 
or Young Apollo, to distinguish it from the 
Apollo Belvedere. Mengs remarks that this 
is a model of grace and beauty, as that is of 
grandeur and sublimity. 

Its resemblance to the bronze Young Apollo 
of Praxiteles in the Albani Villa has led to the 
surmise that it might be the work of that mas- 
ter ; but the statue has so close an analogy of style to that of the 
Venus de Medici, that these two are believed 
to be the work of the same hand. It has been 
observed that if the Venus had not the pre-emi- 
nence of subject, the Apollo would yield to it 
neither in grace nor beauty. 

A-pol'-lo-do'-rus, Greek painter, B.C. 
400 ; discoverer of chiaroscuro. 

A-poHo'-ni-us, Greek sculp., B.C. 200. 
See Farnese Toro. 

Apollonius, Greek, B.C. 300; sculptor of 
the Belvedere Torso. 

Apostoll, SS., Ch. in the Pi. de Apostoli, 
Rome, to the 1. of the Corso, s. end ; founded 
6th cent. ; rebuilt .1420, and again 1602. Only 
the vestibule remains of the earlier structures. 
Under the portico, *Eagle with wreath of oak- 
leaves, from the Forum of Trajan ; mon. to 
Volpato, by Canova. Over the sacristy door 
is the tomb of Pope Clement XIV., by Canova. 

A-pox-y-om'-e-nos, an athlete scraping the dust from his 
arm with an iron called the strigilis. 
2 




Apoxyomenos — 
Vatican. 



26 APSL 

** Statue in the Vatican, No. 67 ; found in the Trastevere, 
1846 ; copy of a bronze by Lysippus, which was placed by Agrippa 
in front of his baths near the Pantheon, and which Tiberius at- 
tempted to remove to his residence, causing a tumult of the popu- 
lace, who forbade it. 

ApsSey House, London, Hyde Park Corner. Residence, 
1820-52, of the Duke of Wellington. Gallery of a limited num- 
ber of pictures, but some very fine ; among them Correggio's 
Christ on the Mt. of Olives, his most celebrated work in England. 

Aqueducts, Rome.— Aqua Alsietina ; constructed by Au- 
gustus ; restored by Trajan. On the w. side of the Tiber, 30 mis. 
long, leads to the fountains of St. Peter's ; now called Aqua Paoli, 
sometimes Aqua Trajana. 

AQUA Anio Novus ; constructed by Claudius ; 62 mis. long ; 
alt., 212 ft., being the most elevated of all the ancient aque- 
ducts ; enters at Porta Maggiore above the Aqua Claudius. 

Aqua Anio Vetus ; constructed by Dentatus, B.C. 272 ; 43 mis. 
long; alt., 149ft. ; enters the city at Porta Maggiore, beneath 
the Aqua Marcia. 

**Aqua Claudia ; commenced by Caligula, completed by Clau- 
dius, A.D. 50; 46 mis. long ; alt., 203 ft. ; crossed the Campagna 
above the Aqua Marcia, upon a series of arches for 10 mis., of 
which 6 miles are still standing, forming the grandest ruin outside 
the walls. Was repaired by Sept. Severus and Caracalla. 

Aqua Felice, 13 mis. long, modern, 1583 ; crosses the Cam- 
pagna on a series of unbroken arches ; now supplies the Fontana 
di Termini and 24 other fountains. 

Aqua Julia ; constructed by Augustus, B.C. 34 ; alt., 191 ft. ; 
built above the Aqua Tepula. 

**Aqua Marcia; constructed by Q. M. Rex, B.C. 145 ; restored 
1869; is 56 mis. long; alt., 173 ft. This aqueduct crosses the 
Campagna on an **arched way and enters the city at Porta Pia, 
and brings the purest water in Rome. 

*Aqua Virgo ; constructed by Aug. or Agrippa, for his Baths 
of the Pantheon ; 14 nils, long ; crosses the Campagna on 700 
arches, and enters the city near the Pincian Hill. This aqueduct 
now supplies the Fountains of Trevi, Piazza Navona, Piazza Far- 
nese, Piazza di Spagna, and others ; now called Aqua Vergine. 

Arabesque (ar-a-besk'). Style of ornamentation adopted by 
the Arabs, in which flowers, fruits, and mathematical figures 
were inwoven in beautiful and grotesque combinations, but from 



ARA 27 

which forms of animals and animate beings were excluded. A 
good example is the Alhambra Court, Crystal Pal., London. 

*Ara-Coe!i, S.M. di, (ahr'-ah-chel-le), ch. on the Capi- 
toline Hill, Rome. This ch. is built upon the site of the temple 
of Jupiter Capitolinus. It was at the head of the stairs to the 1. 
of the Senator's Palace that Tiberius G-racchus and Valerius, the 
Consul, were killed ; and within the ch. that Gibbon first con- 
ceived of his Decline and Fall of the Roman Empire, Oct. 15, 
1704. Within are 22 columns of diverse lengths, from various 
ancient structures The floor is covered with mosaics called 
Opus Alexandrinum. 

This church is in especial esteem among the Romans from its fa- 
mous miracle-working baby, the Santissimo Bambino, 1. aisle, 2d 
Chapel, closed except at Christmas. It is a fantastic doll, carved 
from olive-wood and painted by St. Luke, gaudily dressed in 
gold and silver tissue, and bedecked with jewels. Formerly it 
was in great request to work miraculous cures, and at one time 
its income, as a medical practitioner, was greater than that of 
any physician in Rome. It was never left without a guard. In 
the 1. transept is the tomb of St. Helena, mother of Constantino. 

**Arede Triomphede I'Etoiie (ark-deh-tree-oamf-deh- 
lay-twahl), Paris ; w. end of the Champs Elysees. THumphal 
Arch of the Star — so named from the star formed by the 12 
avenues radiating from this point. Dedicated by Napoleon I. to 
the glory of the French armies; corner-stone laid 1806; com- 
pleted 1836, under Louis Philippe; designed by Chalgrin ; 160 
ft. high, 146 ft. wide, 72 ft. deep; cost $2,000,000. It stands 
on the most commanding site in Paris, at a distance of about 2 
mis. from the Louvre. 

On the e. face are alto-reliefs ; r. below, Departure of Troops, 
by Rude ; above, Obsequies of Marceau, by Lemaire ; 1. below, 
Napoleon I. crowned, by Cortot; above, the Pasha taken Prisoner 
at Aboukir, by Seurre. On the w. face, r. below, French meet- 
ing the Invaders, by Etex ; above, Bridge of Areola, by Feucheres; 
1. below, Peace of 1815, by Etex ; above, Taking of Alexandria, 
by Chaponniere ; north end, Battle of Austerlitz, by Gechter ; 
south end. Battle of Jemappes, by Marochetti. 

Upon the frieze are represented : e. side, the Departure ; w. 
side, the Return of the French Armies. 

On the cornice are 30 shields inscribed with victorious battles ; 
and on the vaulting, 886 names of Generals, the under line indi- 



28 



ARCH 



eating those who fell in battle. Ascent may be made by stair in 
the s. side ; fee 25 centimes. **View from the summit is one 
of the most commanding in Paris. 

Architecture. — I. Grecian Architecture embraces three 
principal orders : the Doric, the Ionic, and the Corinthian, of 
which the leading characteristics are : 





Doric Portico. Ionic Capital. 

Doric Portico. — Entablature : that part of a building restingupon the columns, 
divided into three parts ; 1, the architrave (A A), resting immediately upon the 
capitals ; 2, the frieze (F E), or middle portion, often ornamented with sculp- 
tures, of which the Elgin Marbles from the Parthenon are examples : and 3, the 
cornice (C C). The frieze is also divided into trig yphs, small sections having 
three perpendicular grooves and metopes (M M), the space between the triglyphs 
either sculptured or left a plain panel. 

1. The Doric : the length of the column being 4 to 6 times its diameter, with 20 
shallow flutes coming to an edge, a plain capital, the frieze divided into metopes 
and tryglyphs. 

2. The TQHia : height of column about 9 diameters; the capital surrounded by 

a row of water-leaves ; 24 flutes separated by a fillet ; 
capital with volutes at the corner parallel to the en- 
tablature ; plain frieze. 

3. The Corinthian : height of column about 10 diam- 
eters : the capital surrounded by a row of water-leaves, 
and a second row of acanthus leaves, and having the 
double-faced volutes projecting diagonally. 

II. Tuscan Order. — Height of column 7 diameters 
without flutes, and with no ornament. 

III. Composite, or Roman Ch'der : a mixture of 
Ionic and Corinthian, capital has two rows of acan- 
thus leaves, and in general more ornamented than the 
Corinthian. 

IV. Gothic. — Arch pointed ; column ribbed and often branched in the vault- 
ing; adopted in the 12th cent, and prevailed until the 15th cent., during which 
period the principal cathedrals of Europe were founded. About 1300 the Gothia 
was adopted as the style of early castles. 




Corinthian Capital. 



ARGE 



29 



V.English. — 1. Old Saxon Style: semicircular arch; very narrow windows 
^6 inches) ; walls very thick ; no buttresses ; columns 3^ diameters high on a 
square plinth. 

2. Norman Style : arch semicircular ; in second tier one larger arch frequently 
spans one or two smaller ones, in the third it spans three arches ; over doorway 
grotesque representations of men and animals ; columns large, close-set, fluted 
and sculptured ; windows, narrow with semicircular heads ; ceilings of timber, 
except in the crypts, without tracery. 

3. Early English (1150) : arch sharply pointed and lofty. In the upper tiers 
two or more comprehended under one ; columns, slender and clustered ; capital, 
decorated with foliage ; windows, lancet-shaped ; roof, high ; ceiling, vaulted ; 
walls thinner, with buttresses. 

4. English Ornamented : arches less sharp, more open, and windows larger, 
divided by mullions ; east and west windows large and splendidly decorated; 
vaulted ceiling with springing ribs, subdivided and covering the whole with tra- 
cery, niches, and sculptures. 

5. Florid English (Tudor) : arches flat ; ceiling spread into network ; flying but- 
tresses, ornamented ; external face of the wall highly ornamented. 

VI. Renaissance (reh-na'-songs), the name given to the style following upon 
the decline of the Gothic, which comprised an indiscriminate combination of Gre- 
cian, Roman, and Gothic. 

Argentiere (ar-zhawn' -tee-air), Fr., the uppermost village 
of the valley of Chamonix ; at the foot oC the Glacier of Argen- 
tiere, amid peaks rising to the height of 14,000 ft. See Route 87. 

Ariadne (a-re-ad'-ne), myth, daughter of Minos; enamored 
of Theseus when sent 
by his father to con- 
vey the tribute to the 
Minotaur, and gave 
him the clew of the 
thread by which he 
found his way out of 
the labyrinth. The- 
seus, in return, prom- 
ised to marry her, and 
she accordingly left 
Crete with him ; but, 
on their arrival in the Sleeping Ariadne— Vatican, 

island of Naxos, he deserted her, where she was found by Diony- 

sius (Bacchus), who made her his wife. 

Statues: Berlin, 154, 983; Cap., II. 23, head; Tori., 237. 297; Vat. (Ch.), 
510 (P. C), **414. 

**Anadne, Sleeping, stat. in the Vatican, No 414; found 
1503. Represented at the moment of h c :r desertion when asleep. 




30 ARIA 

The right arm is thrown over the head, which rests upon the left 
hand. The drapery has hardly a parallel in any statue known. 

"The position is perfect, the drapery is a masterpiece, and the restless sleep 
is most admirably rendered." — Wood. 

" The position is graceful, almost mannered."" — Ampere. 

"Although the size is colossal, the delicacy and grace of the female figure are 
not impaired ; but it is especially admirable for the drapery, which hangs in. the 
most natural folds, revealing the fine outline of the limbs which it veils, but 
managed with great refinement." — Hillard. 

**Ariadne on the Panther, stat.; Dannecker's master- 
piece ; in the Ariadneum, Frankfort, Germany. This is con- 
sidered one of the finest of modern 
sculptures, although the idea seems 
to have been borrowed from the fig- 
ure of a woman seated on a lynx, 
an antique in the Lateran Mus., 
Rome. 

Arsenal, Venice, at the e. ex- 
tremity of the city. Admission 9-8. 
Commenced 1104, and in the 14th 
cent, employed 16,000 men. The 
walls are attributed to Andrea 
Pisano. The principal gateway, 
Aviadne-FranJcfori. Um> ig surm0U nted by the statue 

of St. Giustina. Near by are the Colossal Lions, brought from 
Athens, 1687. The erect one stood at the entrance of the Pirseus, 
and is hence called Porto Leone. It has been conjectured that 
it was originally erected on the Field of Marathon. The inscrip- 
tions upon the sides remain uninterpreted. 

The Interior contains an innumerable collection of military 
implements, weapons, instruments of torture, punishment, etc. 
Among them, remains of the Bucentoro, the State Barge ; armor 
of Henry IV. of Fiance ; banner of the Turkish Admiral at Le- 
panto ; helmet of Attila ; bust of Admiral Emo, by Canova. 

**Assumption, Titian's, Acad., Venice. No. 24. 

" When I stood before Titian's Assumption and felt as if lifted off my feet 
by the power and beauty of that incomparable picture, I could not lament that 
I did not see the slight imperfections in drawing and design, which more trained 
and more fastidious eyes detect in it." — Hillard. 

" Overhead, midway in the air, rises the Virgin in the midst of a halo glowing 
like the vapor of a furnace ; she is healthy and vigorous, unecstatic, and without 
the mystic smile, proudly intrenched in her red mantle, which is enveloped by one 
of blue. The stuff takes countless foids in the movements of her superb form ; 




ATAL 



31 



her attitude is athletic, her expression grave, and the low tone of her features 
comes out in full relief against the flaming brilliancy of the aureole. 

"Nothing is effeminate or languid ; grace here maintains its sway. It is a 
beautiful pagan festival, that of earnest force and beaming youthfulness. Vene- 
tian art centres in this work, and per- 
haps reaches its climax. 11 — Taine. 

" Beyond that even of any other work 
of Titian. 11 — Phillip. 

"The most divine work ever produced 
by the hand of man." — Mendelssohn. 

Atalanta, myth. Abandoned 
by her parents, she was nursed 
by a bear. Having grown to ma- 
turity, she slew the centaurs who 
pursued her, and was the first 
to wound the boar in the Caly- 
donian Hunt. When desired 
to marry, being the swiftest of 
mortals, she offered to accept 
whoever should outrun her. Mi- 
lanion, taking three golden ap- 
ples and dropping them during 
the race, she was so charmed by 
their beauty and detained in 
gathering them, that he reached 

the goal before her. 

Aaj~~' —~ c I/-- Assumption — Titian. 

-the-na. See Minerva. l 

Augustine, St., b. in Numidia, a.d. 354. Went to Rome, 
became a lawyer ; went to Milan and was converted by St. Am- 
brose ; made bishop of Hip; o ; d. at seventy-five. Regarded as 
the father of the Latin Church. 

Augustin, St. (saft-o-goos-tan), ch. Paris. Dome 80 ft. 
in diam. , 160 ft. high. Romanesque style. Over the portal 
are the Apostles ; the interior is harmoniously decorated ; the 
canopy over the high altar, the Chapel of Notre Dame, and the 
dome, merit special notice. 

Augustus Csesar, grandson of Julia, the sister of Julius 
Caesar, b. B.C. 63. His original name was C. Octavius, but in B.C. 
27 the Senate conferred upon him the title of Augustus. On 
the death of his great-uncle he hastened to Rome, and after a 
little time was elected Consul. Afterward he united with Antony 
and Lepidus in the Second Triumvirate, by which it was agreed 
that their respective enemies should be slain, among whom were 




32 



AUGU 



Cicero, 300 Senators, and 2,000 citizens. Dissensions soon aris* 
ing, Lepidus and Antony were conquered in turn, and Augus- 
tus became master of the Roman Empire. He continued his 
reign 44 years, dying at the age of 76. Having only one child, 
Julia, who married Agrippa, he adopted as his successor Tibe- 
rius, the son of his first wife by a former husband. He resided 
many years in his palace on the Palatine Hill ; and is said to have 

slept in the same room for 
forty years. His long reign 
was that of peace and pros- 
perity. 

Statues : Berlin, 230, 365 A. ; Cap., 
V. 2; Glyp., 209; Hermit., 193; 
Louvre ( ) ; Nap., bronze, colossal; 
Vat. (Br.). **14, 102 ; (Ch.) 401, 281, 
555, 559, 597. 

**I. Vatican (Br.), No. 14. 
Found, 1863, Villa Li via, 9 
mis. from Rome. 

Upon the richly sculptured 
cuirass are bas-reliefs of the 
achievements of the Emper- 
or. Augustus, as the Sun, 
stands in his chariot preceded 
by Aurora and Phosphorus. 
In the centre is a warrior 
saluting the Sun. A Legion- 
ary stands before him with a 
dog, symbolizing the fidelity 
of the army. On the r. and 
1. are seated figures repre- 
senting Hispania and Dalma- 
tia, provinces conquered by Augustus Below them are an Apollo 
seated on a griffin, and Diana on a stag, representing the victory 
over the fleet of Antony, and the recovery of Sicily, sacred to 
Diana ; and on the shoulders are two sphinxes, in indication of 
his conquest of Egypt. 

" Without exception the finest imperial portrait statue which has come down to 
us." — Shaks. Wood. 

" Unsurpassed for the nobleness of its conception and the delicacy of its artistio 
execution ; well preserved." — LUbke. 

II. Vatican (P. C), No. 559, half draped; remarkable for its 
likeness to Napoleon. 




Augustus — Vatican. 



AUGU 33 

III. Louvre, Salle d'Auguste, at the extreme end ; in his im- 
perial robes. 

Young Augustus, Br. Mu., 3, 4; Vat. (Br.), 14; (Chi.) 401, 
416; Glyp., 209. 

**Head of; Vat. (Chi.), No. 416. Found at Ostia, 1808 ; 
Parian. 

" One of the most beautiful heads in the Vatican, and, without question, a 
truthful portrait of the young Emperor at about the age of 17." — Wood. 

" The bust of the young Augustus is one of the most beautiful things in Rome. 
It represents him about sixteen or eighteen years old. The face is of delicate 
and dreamy beauty. The brow is intellectual and thoughtful, but the chief 
charm of the work is in the exquisite refinement of the mouth." — Hillard. 

Augustus, Tomb of, Bome, Via dei Pontefici, No. 57. 
Founded by Augustus, B.C. 27. It was a circular building, 255 
ft. in diameter, raised upon an elevated foundation of white 
marble, and surmounted by a bronze statue of the Emperor. 

Among those whose ashes were deposited here were : Augustus, 
Marcellus, Octavia, Agrippa, Livia, Drusus, Germanicus, Agrip- 
pina, Tiberius, Caligula, Drusus the younger, Claudius, Britanni- 
cus, and Nerva. The Mausoleum was devastated, first, by Alaric 
in search of treasure ; again, by Robt. Guiscard ; occupied in thp 
12th cent, by the Colonna family as a fortress, and attacked and 
destroyed by Fred. Barbarossa. 

The ruin was used as an amphitheatre for bull-fights, and is 
now used as a theatre for day representations. It is so surrounded 
by houses that little can be seen of what remains. 

Aurelius, Marcus, M. Aurelius Antoninus , b. a.d. 121 ; 
Rom. Emp. 161-180 ; adopted son of Ant. Pius. On coming to 
the throne, he admitted to an equal place with himself, Lucius 
Aurelius Verus, also an adopted son of Ant. Pius. 

In philosophy he was a Stoic, and wrote a work in Greek, en- 
titled "Meditations," still extant, of which it is said that no work 
of antiquity presents a nobler view of philosophical heathenism. 

**Aureiius, Marcus, stat., Piazza Capitoline, Rome. 
Bronze equestrian, formerly gilt. The only perfect equestrian 
statue now in existence of the 22 that decorated Ancient Rome. 
It was erected in front of the Arch of Sept. Severus, between a.d. 
161 and 181. In a.d. 1187 it was removed by Sergins III. to the 
front of St. John Lateran, and in 1538, upon the completion of 
the Piazza Capitoline, at the wish of Michael Angelo. it was trans- 
ferred to its present location. In the general crusade against 



34 



AURE 



heathen art it was spared through the error of supposing it to be 
the statue of Constantine, a Christian Emperor. 

t; It is the most majestic representation of kingly character the world has ever 
seen. A sight of the old heathen emperor is enough to create an evanescent senti- 
ment of loyalty even in a democratic bosom, so august does he look, so fit to rule, 
so worthy of man's profoundest homage and obedience/' — Hawthorne. 

It is related of this statue that M. Angelo upon one occasion 
became so lost in its contemplation, that, wishing to observe the 
horse in another position, he called out to the animal l ' cam "— 
go on ! 

*Aurelius, Column of, in the Piazza Golonna, Rome ; com- 
posed of 26 blocks, around which is a spiral of bas-reliefs of wars 
upon the Danube ; erected to M. Aurelius by the Senate, a. d. 174. 
Height of base 25 ft. , shaft 97. May be ascended by an interior 
flight of steps. 

For a time this was erroneously supposed to be the Column of 
Ant. Pius, erected to him by his two sons, M. Aurelius and L. 
Verus ; and when Sixtus V. restored the column and placed the 
statue of St. Paul upon the summit, he caused an inscription to 
that effect to be placed upon the base, whence it came to be 
known as the Antonine Column. 

Aurora, myth, Greek, Eos, goddess of the dawn; dau. of 
Hyperion. At the close of the night she arose and ascended the 
heavens to announce the coming of the god of day. 

** Aurora ; I. Painting, by Guercino, in the Villa Ludovisi, 
Rome. Aurora is mounted in a two-horse chariot, and attended 




Aurora — Guercino. 

by two winged figures — one with a wreath, the other with flow- 
ers ; before her are female figures representing the fleeing Hours 
or fading Stars. Behind is Tithonus. 

The work is full of the charm of Guercino's powerful coloring. 



AVEN 35 

II. Painting; masterpiece by Guido, in the Rospigliosi Pal., 
Rome. Phoebus is seated in a chariot surrounded by the Hours, 
with Cupid above as the Morning Star, whilst Aurora leads the 
cortege scattering flowers. See Frontispiece. 

" The noblest work of G-uido. It is embodied poetry. Nothing is more ad- 
mirable in this beautiful composition than the motion given to the whole. 11 — 
Eaton. 

"Cupid, Aurora, and Phoebus form a climax of beauty, and the Hours seem 
light as the clouds on which they dance." — Forsyth. 

" Worth a journey to Rome to see." — Byron. 

'• Certainly, taking all in all, the most perfect painting in the last 200 years." — 
Burckhardt. 

" The picture is as fresh and brilliant as if he had painted it with the morning 
sunshine which it represents. It could not be more lustrous in its hues if he had 
given it the last touch an hour ago. The alacrity and movement, briskness and 
morning stir, and the glow of the picture, are wonderful." — Hawthorne. 

Aventine Hill, Home, lying on the extreme southern border 
of the city, between the Palatine Hill and the Porta San Paolo. 

Avignon, Fr. See p. 572. 

Ayr, Scot., 40 mis. from Glasgow by rly., is noted especially 
as the birthplace of Burns, the poet ; as also the place where 
Wm. "Wallace was imprisoned. The town is divided by the river 
Ayr, over which are the ' ' twa brigs " of Burns. The Burns Cot- 
tage, or birthplace, the scene of his " Cottar's Saturday Night," 
is two mis. s. of the town, and is now used as a public house. It 
contains few articles associated with Burns. 

Alloway Kirk, mentioned in " Tarn O'Shanter," or what re- 
mains of it, is one-half ml. s. of the Cottage. Near the church 
are the Burns monument, a circular shaft 60 ft. in height, erected 
1820, and the Doon, immortalized in the "Banks and Braes of 
Bonny Doon." Burns died at Dumfries, where he had lived three 
years, and was buried in the churchyard there. Nineteen years 
later, upon the completion of the monument to his memory, hia 
body was exhumed and placed within the Mausoleum at Dum- 
fries. 

Bacchus, Dionysus of the Greeks, the god of wine ; in art 
represented as a beautiful youth of manly figure, approaching 
effeminacy and voluptuousness. The expression of the face is 
that of the languid pleasure of one lost in sweet reverie. Mar- 
ried Ariadne. Bacchus was a favorite subject with the Greek 
sculptors, as was Bacchus and Ariadne with Renaissance painters. 

Statues : Berlin, 32, 113. 115, 154, 158, 166, 167, 173, 177, 178, 222, 223, 225, 
244, 245; Br. Mus., 110, *140, 176, 189, 193; Cap., I. 4; II. 5, colossal head; 



36 BADE 

Glyp., 51, 103, 108; Louvre, 204, 217; Naples (Farnese), 192 (120), 534, 195; Vat 
(P. C), 397, (Ch.) 588. 

* Baden-Baden (bah-dn; the baths). The Aurelia Aquensis of 
the Romans ; one of the most noted German watering-places. 

Nearly destroyed in the Thirty Years' War. Number of visit- 
ors reaches 50,000 annually. The hot springs, 13 in number, yield 
a mineral water of temperature varying to 150° Fahr. 

Leopolds-plate contains a statue of the Grand Duke Leopold. 

The New Castle, above the town, 1479, is now occupied by the 
Duke as a summer residence. Among the environs of Baden, 
which abound with most delightful views, are the Felsen, com- 
manding an extensive view, and Alt Eberstein, the ruins of a 
Roman watch-tower. See Route 22, Note 9. 

Routes : To Heidelberg, 2 hrs., $1.40 ; $0.95 ; eee Route 22. To Bale, 4 hrs., 
$3.30; $2.20; see Route 22. 

Baise (bay'-ye), Itai., 10 mis. w. of Naples ; in Roman times 
one of the most luxurious watering-places of the Empire. Ruins 
of the Temple of Mercury — probably a bath — and of the Temple 
of Venus and Diana, yet remain. 

Bakhuisen, Ludolf, Backhuysen, Bakhuysen, Backy- 
sen, 1631-1708 ; b. at Emden, in Westphalia. Without a master, 
or having had any instruction, he drew pictures of vessels which 
he saw in the port of Amsterdam, with such fidelity that some 
of them were purchased at the price of 400 florins. Resolving to 
become a painter, he studied under van Everdingen. In order 
that he might render sea-scenes, and especially tempests, with 
the utmost effect, he often exposed himself on the most tem- 
pestuous sea in a small boat, until at length he produced marine 
views which have rarely been equalled, and were in demand in 
all the Courts from St. Petersburg to Italy. 

" Comparing Bakhuisen's dark and rather hard treatment with 
the transparency of Willem van de Velde, a critic says, ' Bakhui- 
sen makes us fear the sea, van de Velde makes us love it.'" His 
later productions are characterized by gray skies and a general 
cold, red tone. His works number about 200. 

Pbincipal Works : Amst. Hoop, Nos. 4, 5 ; Ant., 7 ; Belv., two ; Borgh., XII. 
23 ; Hague, 5 ; Louvre, 5, 7 ; Nat. Gall., 204, 818, 1000 ; Rijks, S, 9, 11. 

Balbus, Theatre of, Rome. A small portion of the ruins 
are visible near the gate of the Ghetto, below the Cenci Palace. 
The Castor and Pollux at the Capitoline steps were found 
here. 



BALE 37 

Bale (bahl), Fr. ; Basel (bah-zl), Oer. {the Queen); Rom. 
Basiled. A city of Switzerland, situated on both sides of the 
Rhine, at the point of junction of Germany, Switzerland, and 
France ; that portion on the Swiss bank being called Bale, or 
Basel, and that upon the German, Klein Basel. Pop. 50,000. 

Bale was a Roman military post as early as B.C. 27. In 1431, 
the Great Ecclesiastical Council of 500 members, which had for its 
purpose the purification of the church, commenced here its ses- 
sion. After 17 years' deliberation, and accomplishing little, the 
members themselves all being excommunicated by the pope, the 
Council was dissolved. Bale is the birthplace of Holbein and 
Euler, and the place of the death of Erasmus, 1536. 

The Munster, formerly the cathedral of the See of Bale, was 
built by Emp. Henry IT., 1010 ; burned, and rebuilt in 1185 ; de- 
stroyed by an earthquake, 1356 ; restored in Gothic style ; sacked 
in the religious disturbances of 1529 ; redecorated with great 
richness and elegance, 1852. 

The Museum contains a Collection of Natural History and a 
Gallery of about 400 pictures, among which are numerous works 
of Holbein the Younger. 

Routes : To Heidelbekg (and Frankfort), 6 hrs., $5; $3.40; see Route 22. 
To Schaffhausen, 2 hrs., $2.50; $1.50. To Lucerne, 3 hrs., $1.20; $0.75: see 
Route 23. To Zurich, 2>£ hrs., $1.25 ; $0.80 ; see Route 27. To Berne, 3 hrs., 
$2.20 ; $1.50 ; see Route 32. To Paris, 10 hrs., $12.50 ; $9.30, via Belfort. Fast 
train, usually first-class only. Principal station for the e., s. and vv. in Bale ; for 
the north in Klein Basel. 

Balloch, Scot. , foot of Loch Lomond. See Route 3. 

♦Baptistery, The, or Church of St. John Baptist, Florence ; 
is situated in front of the Cathedral, and is one of the most an- 
cient structures in the city. It was erected in the 6th cent., 
upon the site and from the materials of a pagan temple — probably 
of Mars — and had an open dome like that of the Pantheon at 
Rome. In 1293 the brick walls were encased with the present 
marbles, and in 1550 the dome was surmounted with a lantern. 
The celebrated Bronze doors of this building hold a distinguished 
place in the history of Art. 

The South door, by Andrea Pisano, 1330, represents the life of 
St. John ; the side decorations are by Ghiberti. 

**The East door, that facing the Cathedral, by Lorenzo Ghi- 
berti, 1452, represents 10 scenes from the Old Testament : 1. 
Creation and Fall ; 2. Cain, Adam tilling the earth ; 3. Noah ; 4. 



38 BARB 

Abraham ; 5. Jacob and Esau ; 6. Joseph ; 7. Giving- the Law ; 
8. Jericho ; 9. Battle of Ammonites ; 10. Queen of Sheba. The 
side decorations are also by Ghiberti. 

" In his bas-reliefs there are numerous female figures which, in the nobleness 
of their shape and of their head, and in the calm simplicity and development of 
their attitude, seem to be Athenian masterpieces One of the youth- 
ful soldiers seems to be an Alcibiades ; before him marches a Roman Consul ; 
blooming young women of incomparable freshness and vigor turn half round, 
gazing and extending an arm, one of them like a Juno, and another like an Ama- 
zon ; all arrested at one of those rare moments when the nobleness of physical 
life attains to its plenitude and perfection without an effort and without reflec- 
tion." — Taine. 

The Baptism, above the door, is by Sansovino. The two por- 
phyry columns, at the sides, were presented to Florence by Pisa, 
1200, in gratitude for assistance in a war against Lucca. 

The North door, also by Grhiberti, 1427, represents the history 
of Christ, the Apostles, and the Church to the time of St. Augus- 
tine. Above is the preaching of St. John, by Rustici. 

The Interior contains little of interest. On the pavement are 
ancient mosaics. On the r. of the high altar is a bronze statue, 
by Donatello, erected to Pope John XXTII. , who was deposed by 
the Council of Constance. 

The Baptismal Font is said to be by Giovanni Pisano. 

" The kneeling figures on Corinthian capitals is one of the first purely artistic 
conceptions of the 13th century." 

Barbarossa. See Fred. I. 

Barberini, Palace. See Part II., Barberini. P. 421. 

Baroccio, Federigo (-ok'-chee-o), 1528-1612, b. at Urbino, 

Italy. Painted at Rome, but his best works are to be found at Ur- 
bino and Perugia. Like Correggio, whom he particularly studied, 
he became a master of chiaroscuro, but was less successful in 
drawing and composition. 

Bartolommeo di Pa'-gho-lo, Fra, II Frate, Baccio 
della Porta, 1469-1517, b. at Soffignano, Ital. Pupil of Co- 
simo Roselli, friend of Albertinelli, and follower of Savona- 
rola. 

He was early noted for the beauty of his Madonnas, but under 
the influence of Savonarola, was led to abandon his pursuit of art, 
and to destroy all his works upon profane subjects. Becoming 
a monk, after a time his superior ordered him to resume his 
former pursuit, which he did with little spirit. Making the ac- 
quaintance of Raphael, then in the height of his power, he was 



BASI 39 

awakened to a new enthusiasm, and at the beginning of the 16th 
cent, shared with del Sarto the rank of the first master of the 
Florentine School. 

He was the first of modern painters to make use of lay figures. 

"Fra Bartolommeo's peculiar sphere is devotional painting ; and here he stands 
the equal of the greatest and noblest masters. His figures are full of deep sensi- 
bility, and at the same time free in their action, nobly draped, and of a ripe 
beauty. But what, above all, contributes to the impressiveness of his pictures, is 
the magnificent grouping, the well-balanced composition of the whole." — Liibke. 

" The Pieta of the Pitti Gall, is the most purely beautiful Pieta ever painted." 
— Radclijfe. 

"His favorite compositions are generally simple Madonnas surrounded by 
angels, but he renders them imposing by splendid architecture and a skilful dis- 
position of the groups. He delights to introduce boy angels, sometimes seated 
and playing on instruments, sometimes hovering around the Madonna, supporting 

her mantle or the canopy of the throne itself Few pictures give a 

finer idea of the Mother than the Presentation in the Temple, now at Venice, 
with the figure of Simeon standing with unparalleled dignity." — Kugler. 

Pkimcipal Works : Belv., one; Berlin, 249? Borgh., II. 40? Cap., I. 27? 
Corsi., III. 26 ; Flor., Acad., 66-9, 78, 82, 28 ; Hermit., 20 ; Pesth, 163 ; Pitti, 64, 
125, 159, 208, 256, 377 ; Uffi., 1126, 1130, 1161, *1265. 

Basilica, a large public hall. They were first erected by the 
Romans about b. c. 200, having a length twice the breadth, with an 
open centre, the side aisles being covered, and a dais at the end 
opp. the entrance, sometimes in a circular apsis. Early adopted 
as the most convenient form for the Christian Church, and re- 
tained in its essential features to the present time. 

Some of the ancient churches are still called basilicas. 
Churches having the aisles separated from the nave by columns 
and having fiat ceilings, are said to be in basilica style. 

The seven basilicas of Rome are : SS. Peter's, John Lateran, 
M. Maggiore, Croce in Gerusalemme — all within the walls ; out- 
side the walls, Paul's, Sebastian, and Lorenzo. 

Basilica. See Constantine, Palatine Hill, and Rom. Forum. 

Bassano, Jacopo da Ponte, 1510-1592, genre painter ; 
excelled in portraits, animals, and landscapes. Studied with his 
father, Francisco. Had four sons, all painters, who adopted 
the style of their father. (Francisco the Younger, 1548-1591 ; 
Gio. Battista, 1553-1613 ; Leandro, 1558-1623 ; Girolamo, 1560- 
1622). 

Madrid has 35 of his pictures. Bassano ranks as the first Ital- 
ian genre painter ; he created a taste for cattle scenes and pas- 
toral landscapes, to which he gave a peculiar silver-gray tint. 



40 BAST 

His coloring is strong", especially his greens, and in his masfcerlj 
handling of light he recalls the style of Rembrandt. 

Pbincipal Wokks : Borg., No. 19 ; Brera, 219 ; Naples, 3 ; Pitti, 11 ; Turin, 
167, 245 ; Uffi., 593, 595 ; Venice, 484. 

*Basti33e, Place de la, Paris. The Bastille was built in 
the time of Ch. V. Upon the removal of the ancient fortifica- 
tions of the city, the Bastille St. Antoine was retained as a state 
prison. In the First Revolution, 1789, it was captured and de- 
stroyed by the populace. 

Napoleon intended to erect here a huge bronze elephant, 78 ft. 
in height, of which a plaster model was for some time kept in a 
shed erected here for its preservation. 

After the Revolution of 1830, the remains of the " July heroes" 
were interred in this spot, and the present July Column erected, 
1840, to their memory. The monument consists of a shaft 75 ft. 
high, 12 ft. in diam., standing upon a circular base, and sur- 
mounted by a gilt globe bearing a statue of Liberty holding in 
her hands a torch and fragments of the chains of despotism. 

The entire height of the column is 154 ft., and bears 615 names 
of the victims who fell in the Revolution. The foundation of 
the monument was laid by Louis Philippe, in 1831, and, 17 years 
after, his throne was burned at its base. 

In 1871 the place was strongly barricaded by the communists, 
and captured only after a very sanguinary conflict. It was their 
intention to destroy the column, and to this end powder had 
been placed in the vaults beneath ; but, as in the defence of the 
place the powder was consumed, the column was fortunately 
preserved. 

Bedford, Eng., 45 mis. n.w. from Lond. ; pop. 15,X)00. Has, 
in proportion to its inhabitants, more public endowments than 
any other town in England. See Route 5. Note 14. 

Belfast', Ireland, 112 mis. n. of Dublin ; the second city in 
size in Ireland, having a population of about 150,000. The city 
possesses a large foreign commerce, and is the seat of extensive 
linen manufactories, some of which, it is said, employ, more or 
less directly, exceeding 20,000 persons. It has also large works 
for iron steamship building, the steamers of the White Star Line 
being built here. In general, the city presents a cleanly, busi- 
ness-like, modern appearance. 

Routes : Steamers leave usually every day for Dublin, Liverpool, Fleetwood, 
Port Patrick — nearest point of Scotland, and Greenock — Glasgow. 



BELL 



41 



By railway— To Dublin, 4 hrs., §5 : $4. To Poktrush, for the Giant* s Cause- 
way, 2.45 hrs., $3; $2.12. To Larne, for steamers of the State Line, 1 hr., $0.S7; 
$0.65. Stations on opp. sides of the city. 

Bellini (bel-lee'-nee), I., Jacopo, 1394-1470, Venice. 

"He attained a middle place between the conventionalism of art which pre- 
ceded him and the naturalistic art which followed him. 

" He worthily commenced what his son Giovanni and Titian perfected." 

His sketch-book of 99 pages is now in the British Museum. 

II. Gentile, son of Jacopo, 1421-1507, Venice, with his 
brother Giovanni, laid the foundation of Venetian art, and exer- 
cised an influence throughout Italy and Germany. In 1479, upon 
request of the Sultan, the Doge sent Gen- 
tile to Constantinople. He remained a 
year, and returned with great honor. His 
works now remaining are not numerous. 
His subjects were mostly historical, as his 
brother's were Biblical. 

Principal Works : Bergamo, No. 193 ; Brera, 
164; Cap., 136; Louvre, 59,60; Liecht., 35; Pesth, 
126 ; Venice, 529, 543, 555. 

III. Giovanni (jo-van-ny), 1427- 
1516, son of Jacopo and the most celebra- 
ted of the family. 

"His Madonnas are amiable beings imbued with a 
lofty grace ; his saints are powerful and noble forms ; 
his angels cheerful boys in the full bloom of youth." 

" In him Venetian coloring attained, if not its high- 
est truth of nature, at all events its greatest intensity 
and transparency. Many of his draperies are like crystals and gems of the clear- 
est and deepest color." — Kugler. 

" By grand nobleness of expression, solemn bearing, and the excellent arrange- 
ment of drapery, he reached a dignity which has been rarely surpassed.— Lu bke. 

Principal Works: Barb., 58? Belv., two; Bergamo, 4, 216; Berlin, 4, 11, 
28; Borgh., 27, 81, 39; Brera, 2TS, 291; Cap., 79, 87, 132, 207; Dresd., 210? 
Hamp. Ct., 117; Hermit., 4; Louvre, 61; Madrid, 60; Munich. 1196?: Naples, 
7; Nat. Gal]., 189, 280, 694 ? 726,- 808, 812; Parma, 180; Turin, 779; Uffi., 354, 
583, 631 ; Venice, 38, 94, 234, 238, 313, 372, 424, 436 ; Verona, 86. 

Belio Sguardo, in the environs of Florence, affording a most 
commanding and charming view of the city, especially at sunset. 
In the Villa degli Albizzi, near by, Galileo often resided. 

Berchem, Nicholas, Berghem, 1620-1683; b. at Haarlem, 
Hoi. He received his first instruction from his father, a painter 
of little note, afterward from Jan van Goyen, and lastly from 
Weenix. His early pictures have some resemblance to those of 




Madonna Gi. Bellini — 
S. Giobbe, Venice. 



42 BERL 

Weenix, although, touched with more delicacy, and, like the paint- 
ings of that master, represent seaports and embarkations. He 
afterward formed a style for himself, representing landscapes of 
most delightful scenery, enriched with architectural ruins and 
decorated with charming groups of figures and cattle. His pic- 
tures of those subjects are superior to any painter of his country, 
except- Both. In general tone his pictures resemble those of 
Both, particularly in his cattle. His works are stated to num- 
ber exceeding 400. 

" The style of Berghem is excellent ; he painted with surprising facility, yet hi3 
pictures have all the finish that could be wished. Extremely happy in the choice 
and arrangement of his compositions, he has given a singular grace and beauty 
to his figures without departing from the propriety of costume. The conduct of 
light and shadow is masterly and intelligent ; the light floating of his skiea, the 
transparency of the water, have never been surpassed by any painter of his 
country. — Bryan. 

PfiiNCiPAii Works: Amst. Hoop, 10; Belv., two; Berlin, 287, 296; Bruns., 
540 ; Bruss., 410 ; Cassel, 518 ; Dresd., 1404-5-G-7 ; Dul., 1?, 1G0, 200, 209 ; Hague, 
10, 12; Hermit., 1070-2-3-4-5-0-7-8, 1081-2-4; Liecht., 210, 781 ; Louvre, 17, 18, 
li>, 21-4-5-7 ; Munich, 223-8, 1023-27-30 ; Nat. Gall., 240, 820 ; Pesth, 336 ; Rijks, 
27-9, 30-31. 

Berlin, Prussia, is situated on both banks of the Spree and 
several islands ; pop. 1,122,000. 

The central point of the city is the Schloss, on the north of which 
is the Lust Garten and the Royal Museum. To the westward from 
the Schloss is Unter den Linden, the principal street of the city, 
extending to the Brandenburg Gate, about one mile. Immediately 
on crossing the Schloss Bridge will be seen, r. the Barracks, opp. 
to which is the Pal. of Pr. Fred. Wm. ; next on r. the King's 
Guard House and the University, opp. to which are the Opera 
House, the Bibliothek, and Palace of the Emp. Wm. In the 
centre of the street is the statue of Fred, the Gt. Beyond this, 
on the r., is the Academy ; thence to the Brandenburg Gate the 
street is devoted to business. The principal cross-street of the 
city, crossing Unter den Linden about midway, is Friedrichs 
Strasse, extending from La Belle Alliance Platz, on the south 
margin of the city, to the Oranienberg Gate, on the north. 

Regarding Unter den Linden as the " Broadway " of what Bae- 
deker styles " one of the handsomest cities in Europe," its ap- 
pearance will assuredly be somewhat disappointing. 

The newer and more elegant portions of the city are beyond 
and to the s.w. of the Brandenburg Gate. Directly to the west 




L^S Wes *> 



Bek 




East. 



BERL 43 

of the Gate extends, for some miles, the delightful Thiergarten 
or Public Park. 

The city is intersected by several canals which, as well as the 
small river Spree, are navigable only for canal- boats or tugs. 

The Principal Places of Interest are the Schloss or old Royal 
Palace, the Royal Museum, the University, the Anatomical Mu- 
seum, the Aquarium, the Botanical Garden, and the Zoological 
Museum ; and in the environs, Charlottenburg, Sans Souci, Pots- 
dam, and Babelsberg. 

**The Royal Palace (old), daily 10-4; ticket office in the 
court. Visitors wait in the ante-room until called by the atten- 
dant. Full explanation (in German) made of all the apartments 
and works of art. The rooms of greatest interest are the Picture 
Gallery (modern works), used also as an assembly hall on festive 
occasions ; the White Saloon, with statues of the 12 Branden- 
burg Electors; the Ritter Saal, Hall of the Knights, with the 
royal throne and gold and silver ware, and the Chapel. 

**The Royal Museum. M. and Sat. 10-4 (winter 3) ; Sun. 
12-2. Strangers admitted also on W., Th., F., 10-4, by the en- 
trance to the New Museum in the rear. 

**The Old Museum comprises paintings and sculptures, and is 
connected by a covered passage across the street with the New 
Museum, which contains casts, models, antiquities, drawings, and 
engravings. Taken together, the Museums constitute one of the 
most extensive and valuable collections in Europe, any adequate 
study of which will require several days. Pictures recently re- 
arranged. 

**NatioNal Gallery (new), adjacent to the new Museum on 
the east, daily, ex. M. 11-3 ; Sun. 12-2 ; free ; opened 1876 ; con- 
tains a collection of about 500 pictures, works of modern Ger- 
man artists of the Munich and Diisseldorf Schools. Each pic- 
ture bears the name of the subject and artist. Catalogue 1 mk. 

*The Museums op the University. The Zoological Mtiseum 
in the 1. wing, 2d floor, Tu. and F. 12-2, free. The Mineral 
Cabinets, regarded as the most extensive on the continent ; main 
entrance, first floor; W., Sat. 2-4. The Anatomical Museum, 
accessible to physicians only. 

The Brandenburg Gate, at the western terminus of the Un- 
ter den Linden, was erected 1789, at a cost of $370,000, after the 
Propylaea of Athens, and is regarded as the finest archway in 
Burope nes.4 to the Arc de Triomphe at Paris. The Quadriga or 



44 BERL 

4-borse car of Victory, by Schadow, was taken to Paris by the 
French in 1806, and returned 1814. 

The Thiergarten (teer) extends westward from the Branden- 
burg Gate about 3 mis. , having a width of about 1 ml. It is cov- 
ered with a wild forest, and intersected with numerous delightful 
carriage, equestrian, and foot-ways. Upon passing out of the 
Gate may be seen, at the right, in the Konigs Platz, the *magnifi- 
cent Column of Victory, erected at the conclusion of the Franco- 
Prussian war of 1871. It consists of a circular temple surrounded 
with a colonnade of 16 pillars, standing upon a square base or 
pedestal, and surmounted by a cylindrical shaft bearing a colossal 
gilt bronze Victory, winged and holding a wreath. The total 
height is 194 ft. It may be ascended by an interior staircase. 
Upon the base are elaborate reliefs of the various campaigns com- 
memorated. 

The Aquarium, daily, 10-9. Unter den Linden, No. 68, fee. 

♦The Botanical Garden, 1 ml. outside the Potsdamer Thor, 
daily, 8-12 and 2-7, ex. Sat., Sun.; 20,000 species of plants 
and 18 hot-houses. One of the finest in Europe. 

The Zoological Garden, by tramway, 2 mis. outside the 
Brandenburg Gate in the Thiergarten. Fine coll. of animals. 

Charlottenburg, a village of 25,000 pop., 3 mis. beyond 
the Brandenburg Gate, at the west terminus of the Thiergarten. 
Delightful drive ; by tramway also. Daily, free. The chateau 
was erected for the Electress, Sophia Charlotte, 1699, and pre- 
sents little of interest aside from the Mausoleum in the palace 
grounds. 

* The Mausoleum is reached by a walk of five minutes in the 
rear of the orangery, through a pleasing sequestered park. It 
contains Rauch's masterly monument of Fred. Wm. III. and 
his Queen, rendered doubly striking by the colored light falling 
upon the interior of the tasteful structure. The entire harmony 
of the grounds, the situation, the building, and the monuments, 
unite in producing a pleasing and profound impression. 

*Potsdam, one of the most interesting localities near Berlin, is 
about an hour's ride by railway from the Potsdamer Station. It 
owes its celebrity more especially to Fred, the Gt. Near the 
station is the palace of Frederic, the rooms which were occupied 
by him remaining in their original condition, as are also the 
apartments of Fred. Wm. III. and Queen. Here also resided 
Fred. Wm. IV. The Garrison Church, a short distance to the 



BERL 45 

west, contains the tomb of Fred, the Gt. and his father, Fred. 
Wm.1; 

*Sa?is Souci (san-soo-see). A mile and a half to the w. of 
Potsdam is the palace of Sans Souci, built by Fred, the Gt., 1745, 
as a retreat from care. Here he passed the last years of his life. 
After remaining uninhabited for a half -century, Fred. Wm. made 
it his residence until his death, 1861. It is now the residence of 
the Queen dowager, Elisabeth. The palace contains many articles 
of interest from their association with Fred, the Great : his flute, 
the clock which stopped at the moment of his death, the chair 
in which he died ; also Voltaire's room, decorated by Frederick 
with pictures of parrots and monkeys, as suitable for his dis- 
tinguished guest. 

The Orangery, a short distance to the west, commanding a 
fine view, contains a saloon of about 40 copies of Raphael's most 
noted works. 

The New Palace, about 1 ml. to the w. of Sans Souci, was 
erected by Fred, the Gt. , at a vast expense, at the close of the 
Seven Years' War, chiefly, it is said, to indicate that the resources 
of the nation were not exhausted. Its 200 apartments are deco- 
rated in the most costly manner. The *Grotto Saloon is inlaid 
with shells, minerals, and precious stones. The Palace is at 
present the residence of the Crown Prince. Adjacent on the w. 
are the Barracks. The location is devoid of attraction. 

** Charlottenhof, about -£ ml. distant from the New Palace, 
is a beautiful little chateau erected as a residence of the late 
King when Crown Prince. The interest felt in its quiet loveli- 
ness is greatly enhanced from its being the place where Hum- 
boldt wrote the most of his Cosmos. 

TnE Marble Palace, commenced by Fred. Wm. II., 178G, is 
erected on the margin of the Heilige See, about 1 ml. n. of Pots- 
dam. The colonnade is decorated with arabesques and scenes 
from the Nibelungen Lied, the interior with modern paintings 
and portraits of distinguished Germans. 

Routes: To London, via Dover, Air-la-Chapelle, about 26 hrs., $29; $21; 
via Flushing or Rotterdam, 36 hrs., $21 ; $15. To Hamburg, 5 his., $6 ; $4. 
To St. Petersburg, 44 hrs., $30; $23. To Moscow, 54 hrs., $30 ; $28. To 
Dresden, 3 hrs., $3.50; $2.50. To Cologne, 9 hrs., $11; $8.25. Several 
stations on the margin of the city. 

[For entering Russian Territory the traveller must be provided with a passport, 
and have it viaeed by the Russian Consul at the port or principal town from which 
his departure takes ] >lace.] 



46 BERN 

Bernardino Route (ber-nar-dee'-no), from Splilgen to Bel< 
linzona ; of less interest than the other principal routes to Italy. 

Bernardo, San, Ch. of, Rome; one of the Halls of the 
Baths of Diocletian, and converted, in 1600, into a church, no 
change being made, except the construction of a recess for the 
altar. The niches in the walls were for statues of the gods. 

Berne, Bern (the bears,) Switz., pop. 44,000, is situated on a 
promontory 100 ft. high, and surrounded on the n., e., and s. by 
the Aare. The principal street extends from the rly. station 
about 1 ml. eastward to the Nydeck Bridge. Two or three 
squares to the s. of this thoroughfare and parallel with it is the 
great * Terrace. 

Following the principal street, Spitalgasse and Marktgasse, 
four squares, Kornhaus Platz is reached, in which, 1. is the *Kind- 
lifresser Brunnen, or Fountain of the Ogre, surmounted by an 
ogre devouring a child, and with others in his pockets. A few 
steps beyond is the Kornhaus, formerly used as a storehouse for 
grain against famine. In the rear of the Kornhaus is the *Kunat- 
saal, or Art Gallery, free ex. Sat. ; gratuity to custodian. 

Returning to the Marktgasse, at the s.e. corner is the Clock 
Tower, celebrated for its pantomimic striking of the hours. A 
cock crows, some bears march round, harlequin strikes a small 
bell, the cock crows again, Time turns his hour-glass, raises his 
sceptre, and opens his mouth, whilst an image above strikes the 
hour, when the cock crows again. 

Museum of Nat. History, one sq. s. of the Clock Tower, 
free Tu. , Sat. , Sun. , other days \ f r. ; contains a fine collection of 
Swiss animals, especially bears. 

The Cathedral. In front is the bronze statue of Rudolph 
von Erlach, hero of the battle of Laupen, 1339. The Cathedral, 
1421, restored 1850, tower yet unfinished, is specially noticeable 
for the balustrade of the roof and for its decorations. 

The Interior (30 c.) contains little of unusual merit. The 
Organ, regarded as superior to the famous Freiburg instrument, 
is played every evening in summer, 1 f r. ; families 2 fr. 

*The Cathedral Terrace, s. side of the Cath., with bronze statue 
of Berthold von Zahringen, the founder of Berne, presents a fine 
view of the Bernese Alps, the Jungfrau, Monch, Eiger, Finster- 
aarhorn, Schreckhorn, and Wetterhorn, from r. to 1. ** Best 
seen at sunset, when the Alpgliihen, or Alp-glow, and the Nach- 
gliihen, or after-glow, is peculiarly beautiful. 











^.; 



<?., 



48 BIBL 

The Bears' Den, across the Aare, at the extreme e. end of the 
city, is a municipal institution, the bears being supported at pub- 
lic expense, in consideration of their having furnished the heraldic 
emblem of the city. 

*Schanzli, n. of the city, across the Aare, affords the finest 
view of Berne, its environs, and the Bernese Oberland. 

Routes: To Bale, 3 hrs., $2.20; $1.50; see Route 32. To Thun, Intekla- 
kbn, 3 hrs., $1 ; $0.70 ; see Route 31. To Lausanne, 3 hrs., $2.20 ; $1.50 ; see 
Route 33. To Paris, 12 hrs., $14 ; $10.30 ; either by Bale or Pontailier. Union 
Station on the w. margin of the city. 

Bibliotheque Nationale (bib'-le-o-tek nah-see-o-nal'), 
Paris, Rue Richelieu ; daily, 10-4, ex. Sun. ; the most exten- 
sive collection of books in the world. 

In 1350, King John is believed to have left a royal library of 8 
or 10 volumes. To these Charles V. added until his collection 
numbered 910 volumes, which he deposited in the Louvre, and 
to which free access was permitted at all times. Charles VI. 
having scattered the greater portion of this, Louis XI. recom- 
menced collecting. In 149G the library was removed to Blois by 
Louis XII., and greatly augmented. In 1544, Francis transferred 
it to Fontainebleau — now numbering 1,890 vols. To these Cath- 
erine de Medicis bequeathed the collection she had brought from 
Florence. In 1594, Henry IV. brought it again to Paris. In the 
time of Louis XIII. it numbered 16,746 volumes, and upon the 
death of Louis XIV., 70,000. At the present time it numbers 
over 2,000,000 books, 150,000 MSS., and 1,300,000 engravings. 
Every facility is extended to strangers wishing to make use of the 
library. In the Salles des Globes are two copper globes nearly 21 
ft. in diameter. Among the MSS. are those of Galileo, the original 
of Fenelon's Telemachus, letters of Henry IV., Louis XIV., etc. 

*Biga, The (bee'-gah), an antique sculpture in the Vatican 
Gall.; stood in an ancient temple of the Sun. The body of the 
chariot was, for several centuries, used for an episcopal throne 
in St. Mark's Church, Rome. The principal part of the horses 
and their trappings are restorations. 

Birmingham (bur'-ming-um; broom-place dwelling), regarded 
as one of the most salubrious towns of England ; occupies the 
slope of three hills descending to the river Rea. The central 
portion is handsomely built, the Town Hall having few superiors 
in architectural excellence. It was celebrated for its manufac- 
ture of arms prior to the Roman invasion ; was the capital of the 



BLAC 49 

Saxon kingdom of Meroia ; owes its modern prosperity to the de- 
mand for arms caused by the American and French wars of the 
latter part of the last century and the beginning of this. See 
Route 9, Note 12. 

Hotites : To London, 3 hrs. To Liverpool, 2 hrs. Several stations. 

Black Forest, #<??'., extending eastward from the Rhine 
through Central Europe and lying between Bale and Darmstadt. 
See Route 22, Notes 7, 15, 19. 

Blanc, Mont. See Chamonix. 

*Blenheim (-im), Eng., the seat of the Duke of Marlbo- 
rough ; is most conveniently reached by carriage from Oxford, a 
distance of nine miles. 

After the great victory of Blenheim, Parliament voted this du- 
cal residence, at a cost of nearly three millions of dollars, besides 
a perpetual pension of $500,000 to the Duke, in consideration of 
the National regard for his services. The Park comprises nearly 
3,000 acres, and is filled with every device of ingenuity and taste. 
A column 130 ft. in height, surmounted by a statue of the Duke, 
stands on the lawn. The Palace is a magnificent structure and 
decorated with great elegance, and contains a choice collection of 
paintings and statuary, especially of works by Rubens. 



Bo'-bo-li Gardens, in the rear of the Pitti Pal., Florence ; 
open to the public Sun. and Th. , from noon till dusk ; entrance 
through the arch at the 1. of the Pal. ; laid out under Cosmo I. , 
1550 ; adorned with statues, fountains, and grottos, and com- 
mands a fine view of the city and environs. 

*Bois de Boulogne (bwa'-deh-boo-lone'). Pern's, ^ml. beyond 
Arc de Triomphe ; tramway and omnibus to the Arc, steam tram- 
way beyond ; most satisfactory, however, to take carriage. Being 
beyond the fortifications, the tariff for 2 or 3 persons is 2£ f r. 
first, and 2 fr. each subsequent hour ; 4 or 5 persons, 2£ first, 2£- 
afterward. If retained over two hrs., the driver is entitled to 20 
minutes rest. 

This forest, comprising 2,500 acres, derived its name from a vil- 
lage to the s.w., which, from time immemorial, had been noted 
as an evil resort. In 1789 it was cleared in part, and in 1814 the 
wood was entirely removed as a measure of defence against the 
Allies. In 1815 Wellington was encamped here. Under Louis 
XVIII. and Charles X. it was restored as a park, and, in 1830, 



50 BOIS 

presented to the Municipality of Paris, and the cascades and lakes 
constructed and mounds erected, with a view to make it vie with 
the noted parks of other cities. In 1870 the siege of the Prus- 
sians rendered the clearing- away of the forest a necessity for the 
defence of the city. Much of its former beauty is therefore 
wanting at the present time. The principal points of attraction 
are the artificial lakes. 

Lac Inferieur is §- ml. long and Lac Superieur i ml. Within 
the first are islands (1 fr.), with cafes, restaurants, and various 
amusements. Between the lakes are the cascades, one of which 
is called the Source. 

The Pre Calelan, formerly the centre of attraction, is now 
chiefly used as a concert saloon. The Race-course of Long 
Champs, named from the Abbey de Long Champs, founded here 
in 1261, by Isabella, sister of St. Louis, is on the n. side, near the 
Seine, not far from which is the Cascade de Long Champs, 27 ft. 
high. At the extreme north end of the Bois is the Jardin cPAccli- 
matation, which see. 

The best display of equipages is seen from 3-5 o'clock. 

Bois de Vmoennes (bwa-deh-vm-sen), Paris, 1£ ml. be- 
yond Place du Trone ; by rly. from PI. de la Bastille, horse-car 
from the Louvre, or omnibus from PI. des Arts and Metiers. 

Louis le Jeune here made his residence, 1187; a century later, 
St. Louis held here a court of justice under an oak, the site of 
which is marked by a pyramid in the centre of the Rendez-vous- 
de-Chase. It was also the residence of Philip Aug., Louis le 
Hutin, and Charles le Bel. The chateau was erected by Philippe 
de Valois, 1333. 

The Donjon^ with its four towers, constructed of stone, is of 
four lofty stories, with walls 10 ft. in thickness. It was a royal 
residence till the time of Louis XL, since which it has been used 
as a prison. Among those who have been confined here are 
Henry IV., Conde, Prince Ed. of Eng., and Due d'Enghein. 
Upon the ground floor is the Salle de la Question, or room of 
torture, a place of total darkness. A hole in the wall indicates 
the bed of the victim. 

The Chapel, 1248, is noted especially for its fine vaulting and 
its windows. In a window on the 1. , among the celestial figures, 
is Diana of Poictiers, distinguished by the blue ribbon in her 
hair. In the Sacristy is a mon. to the Due d'Enghein, who was 
unjustly executed by Napoleon I. The statue of the Due is sup- 



BOL 51 

ported by Religion, while France below is weeping, and Ven- 
geance is supplicating Divine justice. ("A magnificent monu- 
ment." — Galignani. ' l A poor work. " — Baedeker). 

Bol, Ferdinand, 1611-1680, b. Dordrecht, Hoi. ; d. Amster- 
dam ; painter and engraver. He was one of the best pupils of 
Rembrandt, whose style he imitated well. He painted historical 
pictures and portraits. " He must not be confounded with Hans 
Bol, miniature and landscape painter." 

Bologna (bo-lone' -y a), Italy, the Felsina of the Etruscans and 
the Bononia of the Romans. Its university, established 1119, is 
among the oldest known, and in the 13th cent, numbered 10,000 
students. Anatomy and dissection were here first taught, and 
here Galvani made his first studies in galvanism. 

In painting, Bologna holds a rank scarcely second to Florence 
in the eminence of its masters, among whom were Fr. Francia, 
the Carracci, Guido, Albano, Domenichino, and Guercino. The 
general architecture of its principal streets, massive and palatial, 
with arcades covering the sidewalks, gives a peculiar and some- 
what sombre aspect to the city. It affords, however, an agree- 
able protection from the heat of summer and storms of winter. 

The Principal Objects Of Interest are the Academy of Art (see 
Part II. , Bologna), the Piazza Vittorio Emanuele, the Leaning 
Towers, the Campo Santo, and the Churches of S. Petronio, S, 
Pietro, S. Domenico, and S. Stefano. 

The Piazza Vittorio Emanuele, the ancient forum, in the 
centre of the city, is of great historic interest. On the w. is the 
Pal. Pubblico, or Governor's Palace, 1290, the grand staircase of 
which was designed by Bramante ; on the e. is the Pal. del Po- 
desta, 1201, in which the young King Enzio was, during his life, 
kept a prisoner ; and where, also, the conclave for the election of 
Pope John XXIII. was held, 1410. 'On the s. is the Ch. of S. 
Petronio, 1390, designed to be nearly 600 ft. in length. In 1659, 
the completion of the vast plan was abandoned, the work having 
ouly reached the transept. Interior uninteresting. 

The Piazza is adorned with a fountain surmounted by the 
celebrated bronze *statue of Neptune by G. da Bologna, 8 ft. in 
height, and said to weigh 10 tons (?), and is regarded as one of the 
most meritorious achievements of modern art. 

' ; Not an antique god, calm and worthy of adoration, but a mythological god, 
serving as an ornament, naked, and displaying his muscles. Under the feet of 
the god are four females displaying the magnificent nudity of their bending forms, 



52 



BOLO 




_^ West. 



Bologna 



East. 1 



BOLO 53 

the open sensuality of their bold heads, and closely clasping their swollen breasts 
to force out the jutting water." — Taine. 

The Leaning Towers. Three squares to the e. of the Pi 
Vit. Em. is the Torre Asinelli (1109), 275 ft. in height, overhang 
ing 3 ft. 5 in. ; and the Torre Garisenda (1110), 138 ft. in height, 
overhanging 8 ft. in. 

The Campo Santo. One and a half ml. from the Porta Sara 
gozza, s.w.,isthe Campo Santo, a burial-place of much interest. 
A covered gallery of 635 arches leads from the Porta to the Cam- 
po and to the Church of the Madonna de S. Luca, situated upon 
the summit of Monte della Guardia, 2£ mis. dist. The church 
contains little of interest, but the height commands a magnificent 
view of the city, its environs, the Apennines, and the Adriatic. 

Routes : To Turin, 7 hrs., $7.60 ; $5 ; see Route 42. To Milan, 5 hrs., $4.60 ; 
$3 ; see Route 42 to Piacenza, and 47 Piacenza to Milan. To Venice, 4 hrs., 
$3.70 ; $2.60 ; see Route 48. To Florence (Rome), 4 hrs., $3 ; $2.10 ; see Route 
49. Union station on the n. margin of the city. 

Bologna, Jean (Giovanni) de (zhan-deh-bo-lone'-yah), 
II Fiammingo, 1530?-1G08 ; b. at Douai, Flanders. He went 
to Rome, and, devoting himself to the study of the great masters, 
particularly Michael Angelo, early took a high rank as an artist, 
and soon achieved a place among the first masters of sculp- 
ture. 

His four great works, each of which is a masterpiece, are the 
Great Fountain at Bologna ; the Statue of Cosmo I., on the Piazza 
del Granduca, Florence ; the Rape of the Sabine Women, in mar- 
ble, under the Loggie, Florence ; and Mercury in the Nat. Mu- 
seum, Florence, formerly in the Uffizi. See Mercury. 

"I think there has been no better sculptor since the days of Phidias." — Haw- 
thorne. 

Bonifazio Veneziano (bo-ne-faht'-zee-o), 1491-1553. Pu- 
pil of Palma Vecchio. Subjects usually religious. Excelled in 
Saints and Holy Families. 

Principal Works : Florence, Last Supper ; Milan, Finding of Moses — long 
ascribed to Giorgione — and Christ at Emmaus ; Paris, Raising of Lazarus ; 
Venice, The Rich Man's Feast, The Magi, The Virgin and Four Saints. 

Bordone, Paris (bor-do'-nay), 1500-1571 ; b. at Treviso, 
Italy ; studied in the school of Titian ; became an imitator of 
Titian and Giorgione. He is distinguished for portraits and fine 
heads, which have often been mistaken for Titian's. His flesh- 
tints are rosy, his draperies purple and crimson, with numerous 



54 BORG 

small, broken folds. He was invited to Prance by Francis I. 

His works are not numerous. 

Principal Works : Belv., three; Brera, 208; Dresd., 256; Edinb., 106; 
Hamp. Ct., 118, 182, 235?; Hermit., 110, 111; Louvre, 82; Nat. Gall., 637, 674; 
TJffi., 607, and several portraits ; Venice, 428, 429. 

Borghese Palace (bor-gay'-say), via Fontanella, Home, an 
immense structure commenced in 1590. The court is sur- 
rounded by a portico of 96 columns. 

The Gallery. See Part II., Borghese Gallery, p. 423. 

Borghese Villa. See Part II., Borghese Villa, p. 424. 

Borgognone, Ambrogio (bor-gon-yo'-nay), Am. Fossano, 
1455-1525. Milan. Painter, most successful on heads. His Ma- 
donnas are of a peculiarly beautiful type, gentle and devout. His 
pale, delicate flesh-tints are masterly. 

Bor-ro-me'-an Isles, Lake Maggiore. See Route 25. 

Both (boat). I. Andreas. 1610 ?-1645 ?, b. at Utrecht, Hoi. 
Studied under Bloemart, and travelled in Italy. ' Andreas rarely 
painted complete pictures, more usually devoting himself to the 
figures and animals in his brother's landscapes. 

II. Jan (yahn), 1610 ?-1656 ? Studied, travelled, and painted 
with his brother. In Italy the brothers imitated the taste and 
style of Claude, and devoted themselves to Italian scenery. Jan's 
landscapes are characteristic, with lofty trees, sparse foliage in 
the foreground ; high, rocky precipices, with distant mountains, 
a wide-stretching plain intervening, with a warm, soothing sun- 
set, and frequently a brigand-looking traveller, a muleteer, and a 
couple of weary, miserable mules. 



Principal Works: Amst. Hoop., Nos. 21-2; Ant., 26; Berlin, 863; Brus3., 
124; Dresd., 1272; Dul., 30, 36, 41, 199, 205; Hague, 17, 18; Louvre, 43-4; 
Munich, 173, 3C0, 479, 970; Nat. Gall., 71, 209, 959; Pesth, X. 349; Eijks, 49, 
51-2 ; Rotterdam, 25. 

Botticelli (chel'-ly), Sandro, Filipepi, '1447-1510, b. at 
Florence; was the pupil of Fra Lippi, and became one of the 
first painters of his time in the expression of vigorous and im- 
petuous movement, in which respect he is allied to Angelo and 
Signorelli. In contrast with Angelico his angels are well-formed 
and vigorous muscular youths. Among his most important works 
are his frescoes in the Sistine Chapel. His masterpiece is the 
Calumny of Apelles, in the Uffizi. 



BOUT 55 

Bouts, Dieric (dear-ik boots), erroneously Stuerbout, 
1391 ?-1475 ; b. at Haarlem, Hoi. ■ ' Though a Dutchman by birth, 
he is entirely a painter of the Flemish School of van Eyck." His 
two greatest works are the Triumph of Justice and a Last Sup- 
per, in Louvain. His devotional pictures are severe and some- 
what melancholy ; his coloring is of high merit, especially in his 
green and red draperies. 

Braccio Nuovo, Museo. See Vatican Sculptures. P. 479. 

Bramante d'Urbino, Donato Lomazzo. Place and date 
of birth unknown. In early life studied painting. Some of his 
frescoes remain in Milan. His more important works are archi- 
tectural. He was appointed architect of St. Peter's, Rome, and 
erected the four great arches supporting the dome. After his 
death the plan of the church was changed. Michael Angelo said 
of him : " Bramante was one of the most able architects since the 
days of the ancients." Buried in St. Peter's, 1514. Age about 70. 

Brenner Pass. See Route No. 58. See also Alps. 

Brera Gallery, Milan. See Part II., Brera. P. 424. 

♦Bridge water Gallery, Bridgewater House, St. James's, 
London. Upwards of 300 pictures; M., Tu. , Th., and F., 10-5, 
by card obtained of Messrs. Smith, 187 New Bond St. Catalogues 
at the Gallery. See Madonnas, Nos. 17, 18, and 19. 

" There is a deficiency of examples of the older Italian and German Schools in 
this collection ; but from the time of Raphael the series is more complete than in 
any private gallery I know. The Carracci School can nowhere be studied to better 
advantage. " — Mrs. Jameson. 

B r i I (breel), Paul, 1556-1626 ? ; born at Antwerp. He painted 
principally at Rome, and is said to have made essential advance 
in the art of painting and to have beneficially influenced Rubens, 
An. Carracci, and Claude Lorraine. His principal work is a fresco 
in the Vatican, 68 ft. long. He painted with equal success land- 
scapes and figures. The Louvre has 8 of his works. 

Bristol (c7iasm), Eng., 118 mis. w. from London (3 hrs.); pop. 
175,000; on the Avon. Was fortified in the 5th cent.; castle 
built in time of Henry I. Birthplace of Sebastian Cabot, Chat- 
terton, Southey, and Bagley the sculptor. 

British Museum. See Part II., British Museum. P. 426. 

Brouwer, Adrian (brow-wer), 1608-1640; b. Haarlem (or 
Oudenarde), Hoi.; d. Antwerp ; painter and engraver. 

" He commenced by designing flowers and birds for his mother, who embroid- 
ered for a living. Entering the school of Hals, young Brouwer's progress wa» 



66 BRDE 

rapid ; but he was not able to endure the ill-treatment of his master, who appro 
priated his works, selling them at high prices. Escaping from the house, ha 
visited successively Amsterdam, Antwerp, and Paris." 

He painted in a superior manner peasant-scenes, vuins, guard- 
houses, fetes, and gamblers. In quaint conception and facile de- 
lineation he is nearly the equal of his master. His pictures are 
seldom met with, and are now highly prized. 

The largest number known in any collection is that at Munich, 
nine, of which six are masterpieces. Recent research has shown 
Brouwer's life to have been much less irregular than has gen- 
erally been stated by biographers. 

Principal Wobks : Berlin. 853 B ; Cassel, 380-1; Dul., 54; Prank., 233, 234, 
234 A; Hermit., 937, 941; Louvre, 47, 44; Madrid, 1219; Munich, 273,1107; 
Pesth, 641 ; Bijks, 64-5 ; Uff., 959. 

Brueghel, Breughel (broy'-gel) : I. Pieter, the Elder, 
known as Peasant Brueghel ; 1520-1569 ; b. at Brueghel, Hol- 
land. His subjects were peasant life and scriptural scenes. At- 
tained to no great eminence. His best works are at Vienna. 

II. Pieter, the Younger, 1564-1637 ; son of I. ; delighted 
in representations of the infernal regions, and hence is frequently 
mentioned as " Hell Brueghel." He possessed little power as an 
artist. His sky is peculiarly green, and his landscapes dotted 
with figures. 

III. Jan (yahn), son of I., known as " Velvet Brueghel;" the 
most eminent of the family, 1569-1642 ? ; b. at Brussels. Subjects 
were landscapes, marine, genre, biblical, fruit and flowers. His 
touch vigorous, his management of light and color highly effec- 
tive and masterly, and his works are finely finished. He often 
painted the landscapes in the works of Rubens, van Balen, and 
Rottenhammer, and figures for de Steenwick and de Momper. 
His landscapes frequently have an excess of blue. 

Brun, Charles le (broon) ; 1619-1690; b., Paris. He early 
displayed great talent, and at fifteen painted his Hercules and 
the Horses of Diomedes. At 22 he was sent to Italy to study, 
where he spent six years. Returning to Paris, he became painter 
to Louis XIV., and was employed in decorating the royal palaces 
of Versailles and the Louvre. Under his influence the king estab- 
lished the Royal Academy of Art. The Louvre has 26 of his pic- 
tures, besides the mural decorations. He has been criticised as 
a theatrical and showy decorator. 

Brun, Elizabeth Louise !e, 1755-1842 ; b., Paris. She 
painted portraits with success at the age of 15. Disturbed at the 



BRUN 57 

revolutionary course of public affairs, she went to Italy and thence 
visited nearly every country in Europe, returning to France in 
1801. She was elected a member of the Academies of Rome, 
Parma, Bologna, Berlin, Geneva, St. Petersburg, and several 
others. Her works number over 600 portraits and 200 land- 
scapes, many of which have been engraved. She has six works 
in the Louvre. Her portrait of herself and daughter, in the 
Louvre, is a favorite subject with copyists. 

Brunelieschi (-ke), Fslippo, 1377-1446, Florence. To no 
one of the early masters is modern art more indebted than to 
Brunelieschi. He has been called the Father of the Renaissance. 
He was among the first of modern artists to feel the inspiration 
of the remnants of Ancient Art, and the first to reapply geometry 
to architecture. Masaccio, following his example, applied it to 
painting and mosaics. 

Visiting Rome, he studied with the greatest assiduity and en- 
thusiasm the marvellous ruins which met him on every hand. 

Commissioned by the Government of Florence to undertake 
the completion of their great cathedral, he designed and erected 
the magnificent dome, one of the boldest masterpieces, and at 
that time without a parallel. He also designed the church of San 
Lorenzo, the Capella Pazzi, the Courts of Santa Croce, and the 
Pitti Palace, a structure which still remains a model of the high- 
est architectural taste. 

' ; As an architect he was not exactly the originator of the new style which sup- 
planted the Gothic, but he was certainly the master who, by his great power, 
stamped that superiority as a fact." — Grimm. 

Br Li nig Pass, Switz. See Route 30, and also Alps. 

Brussels, Brtjxelles (brook'-zel', house on the marsh), Belg. 
The city, containing a population of nearly 400,000, is divided 
into the upper town, occupied by the nobility and foreign resi- 
dents, and the lower town, the residence chiefly of artisans and 
traders. The business portion of the city lies on the slope be- 
tween the two. Upon the brow of the upper town is the Park, 
adjacent to which are the Royal Palaces. 

In the general appearance of its streets, parks, and buildings, 
Brussels much resembles Paris ; the French language is also used 
by the upper clasess. 

The Principal Places of Interest are the Park, the Palais du Roi, 
the Palais Ducal, the Palais de la Nation, the Palais de 1' In- 
dustrie, Ancienne Cour, Hotel de Ville, Musee "Wiertz, St. Gudule, 



58 



BRUS 



\msrmm 




ZZ3£^ZLZH^ 



BRUS 5ft 

Martyrs' Mon., Colonue du Congres, and, in the environs, the 
Porte de Hal, the Bois de la Cambre, and the Field of Water- 
loo. 

The Park, on Rue Royale, is the fashionable promenade at 
sunset and on Sundays. To the 1. is the Palais de la Nation, on 
the r. is the Palais du Roi, and above this last, at the s.e. corner 
of the Park, the Palais Ducal. The Park is adorned with foun- 
tains and statuary. *Military music Sundays 1-2.30, and on 
summer evenings at 6. 

The Palais du Roi, s. side of the Park, has little of interest. 
Residence of Napoleon and Josephine, 1803. Permission obtained 
from the intendant. The flag announces the king at his palace 
or at Laeken. 

The Palais Ducal, formerly of the Prince of Orange, is now 
a Museum. 

The Palais de la Nation, opp. the Palais du Roi, was erect- 
ed, 1779, by Maria Theresa as a Parliament House, and is now 
occupied by the Belgian Parliament. Sessions from 12 to 5 p.m. 
Admission for the public at the rear, in Rue de l'Orangerie. 

Gu-dule, Ste., et St. Michel, Cathedral of Brussels, 13th 
cent., not yet finished. Closed from 12-4, but admission may be 
gained on payment of 1 fr. *The magnificent windows are the 
chief attraction, especially those of the Chapel of the Sacrament, 
devoted to the Royal Family. 

*The Pulpit represents, in carved wood, the Expulsion from 
Paradise, among the animals are the bear, dog, cat, eagle, vul- 
ture, peacock, owl, dove, ape, etc. 

The Museum {UAntienne Gout) contains a collection of Nat. 
History, a G-alerie Historique, and the Musee de Peinture. See 
Part II., Brussels Museum. P. 431. 

The Palais de l'Industrie, near the Ancienne Cour, con- 
tains the royal library. 

The Hotel de Ville, in Grande Place, near the centre of the 
city, 1402, is regarded as architecturally one of the finest struc- 
tures in Europe. Its tower rises to the height of 370 ft., and is 
placed somewhat to one side of the centre of the building. 

The Musee Wieiitz (vee'-ertz), on the eastern margin of the 
city, is a small collection of pictures by Wiertz, several of which 
are of remarkable ingenuity and power; 10-3. 

The Martyrs' Monument, in Place des Martyrs, was erected, 
1838, in memory of the patriots who fell in the struggle for inde- 



60 BUCK 

pendence in 1830. In the gallery below are the names of the 
448 slain. 

The Colonne du Congres, in Place du Congres, two squares 
n. from the cathedral, was erected, 1850, in honor of the adop- 
tion, in 1831, of the present Constitution of Belgium. This is 
surmounted by a statue of the king. At the corners are allegori- 
cal figures of Liberty. 

Environs : The Porte de Hal, or Museum of Mediaeval Anti- 
quities, 2 mis. s.w. of the Hotel de Ville, is an interesting col- 
lection of arms, weapons, carved work, shrines, etc. 

Open daily, 10-3, free ; small gratuity to the custodian. 

Criminal executions take place in the space in front of the 
building. 

The Bois de la Cambre, a delightful park of 450 acres, one-half 
ml. outside the city, on the south. May be reached by tramway 
from Boulevard de Waterloo. 

The Field of Waterloo, 12 mis. to the s. of Brussels, is most 
easily visited by taking omnibus from the Hotel de Saxe at 9.30 
A.M.; fare, round trip, 5 frs. Also by railway at 9.30, Chemin- 
de-fer du Luxembourg to Groenendael, thence by omnibus. Fare, 
4 frs. , but time more limited. Return by either route. 

Routes: To Antwerp, % hr., $.75; $.60; see Route 16. To Cologne, 6 
hrs., $4.70; $3.40; see Route 19. To Pabis, 6 hrs., $6.90; $5.20; see Route 
18. To London, via Ostend, 11 hrs., $11.50 ; $8.25. Stations on the n. and s. 
margins of the city. 

Buckingham Palace, London, w. end of St. James's 
Park, town residence of the Queen ; occupied first as a royal 
residence by Ceo. IIL; afterward by Geo. IV. Contains a lim- 
ited, but valuable collection of paintings, permission to visit 
which may be obtained of the Lord Chamberlain on written ap- 
plication, but only during the Queen's absence. The Royal 
Mews, or Stables, to the s. of the Pal. , may be visited upon ap- 
plication to the Master of the Horse. 

Buonarroti. See Angelo. 

Buttress, a structure of masonry upon the outside of a 
building to support the walls. Flying Buttress, a buttress stand- 
ing at a distance of several feet from the wall and curving over 
in a semi-arch and striking the wall at considerable height. 

Burns, Robert. See Ayr. 

Csecilia Metella, dau. of Q. C. Metellus, consul B.C. 109; 
Irife of Crassus. Her Tomb, on the Appian Way, 2 mis. from 



CiES 



61 



the Porta S. Sebastiano, is one of the finest and best-preserved 
monuments of ancient Rome ; 70 ft. in diam., standing on a 
square base. It was stripped of its outer coating" by Clement 
XII., and the present battlements were added by Boniface VIIT. 
in the loth cent. 

Caesar, Augustus. See Augustus. 

Caesar, C. Julius, b. July, B.C. 100. At 17, married Cor- 
nelia, dau. of Cinna ; at 22, was renowned as an orator ; at 38, 
formed, with Pompey and Crassus, the First 
Triumvirate ; at 40, was elected Consul, and 
the provinces of Gaul were assigned to him 
for 5 years. Gave his dau. Julia in marriage 
to Pompey. The following 9 years he was in 
Gaul — twice crossed the Rhine, twice landed 
in Britain, b. c. 55 and 54. Julia having died, 
Pompey joined the aristocratic party, and 
endeavored, through the Senate, to take away 
Caesar's command. Learning this, Caesar 
marched upon Rome. Pompey and the Sen- 
ate fled to the south of Italy, thence to 
Greece, and collected an army. At the bat- 
tle of Pharsalia, B.C. 48, Caesar was com- 
pletely victorious, and thus became master of the Roman Empire 
at the age of 52. 

He exercised the greatest clemency, and governed with great 
wisdom. The aristocracy, however, resolved on his assassina- 
tion, which occurred on the 15th of March, B.C. 44, in the Curia 
of Pom])ey, where the ch. of St. Andrea delta Valle now stands. 
His body was burned in the Forum. See Roman Forum. 

Statues: Berlin, 291, 295, 380; Br. Mu., 2; Cap. V". 1 ; Hermit, 210; Louvre, 
\ ) ; Naples, 29 (163), 215 (162) ; Torlo., 116 ; Vat., 2S2. 

Caesars, Palace of the. See Palatine Rill. 

Caius Cestius (kay'-yus sess'-te-us), Tomb of. Pome, 
near the gate of San Paolo : a pyramid, 114 ft. in height and 90 
on each side at the base. It contains a chamber, 13 ft. in length, 
ornamented with arabesques. The structure is of the time of 
Augustus, and was erected, as the inscription states, in 330 days. 
It was incorporated into the city wall, as at present seen, by Au- 
relian when he constructed his line of fortifications. 

Caligula (ka-lig'-u-la), b. a.d. 12, a son of Germanicus and 
Agrippina; succeeded Tiberius, A.D. 37. He had reigned a few 




J. Caesar — Naples. 



62 CALI 

months, when a serious illness seems to have weakened his men- 
tal powers. His subsequent reign was extravagant and wantonly 
cruel. He exhausted Italy by his extortion, and then marched 
into Gaul, which he wasted also. Returning to Rome, he was 
soon after murdered. 

Caligula, Palace of, See Palatine Hill. 

*Calton Hill (call-ton), Edinburgh, at the eastern end of 
Princes Street. Alt. 350 ft. Upon the hill, adjacent to the 
stairs, is Dugald Stewart's mon. at the 1. ; to the n. , is the Old 
Observatory, and the New Observatory with a small dome. At 
the s.e. of the Observatory grounds is a mon. to Playfair. To the 
s. is Nelson's mon., 102 ft. high, surmounted by a time-ball. 
The unfinished colonnade is a part of a structure in honor of 
Waterloo, intended to be a copy of the Parthenon at Athens. 
The foundation was laid 1822, but, proving too costly, the pro- 
ject was abandoned, having cost thus far about $80,000. 

**The view from the summit of this hill is scarcely to be sur- 
passed. To the n. is what may be called New Edinburgh, ex- 
tending toward Granton and the port of Leith. Across the Forth, 
is Fif eshire. Following down the Forth is, first, the isl. of Inch 
Keith, Portobello, Bass Rock, and the Isle of May farther at sea. 
Toward the s. and w. the Burns mon. ; Holyrood immediately 
below ; Salisbury Craig and s. , Arthur's Seat, 820 ft. ; thence to 
the n. the Old Town, commanded by the frowning Castle. 

Cambridge, Eng., 51 mis. from London ; may be reached 
both by the Gt. Northern and the Gt. Eastern rlys. It is situ- 
ated on the river Cam, whence its name, and has a pop. of 30,- 
000. The town was burned by the Danes, 871, and again in 1010 ; 
Win. the Conq. built a castle here, of which nothing now remains 
but the gate-house. 

The University consists of 17 colleges and halls, dating, accord- 
ing to Hallam, from 1231. All the present colleges and halls have 
been founded since the time of Ed. I., as follows: St. Peter's, 
1257; Clare Hall, 1326; Pembroke Hall, 1343; Gonville and 
Caius, 1349; Trinity Hall, 1350; Corpus Christi, 1351 ; King's, 
1441 ; Queen's, 1446 ; Catharine Hall, 1475 ; Jesus, 1496 ; Christ's, 
1466 ; St. John's, 1511 ; Magdalen, 1542 ; Trinity, 1546 ; Em- 
manuel, 1584 ; Sidney Sussex, 1598 ; Downing, 1800. 

Campagna, The (cam-pan '-y a), Italy, that portion of the 
western coast lying between Cape Linaro, near Civita Vecchia, 
and Terracina, about 90 mis. s. ; its greatest breadth is about 25 



CAMP 63 

mis. In the times of the Empire it was densely populated with 
numerous villages ; it is now mostly an uninhabited waste. Dur- 
ing- the summer it is subject to malarial influences. 

Campanile (-pah-nec-ly). A bell-tower frequently discon- 
nected from the church or cathedral. See Cathedrals of Florence, 
St. Mark '«, and Pisa. 

Canova, Antonio, 1757-1822; b. at Possagno, Italy. His 
father having died, he was remitted to the care of his grand- 
father, a stonecutter, and at the age of nine years began to ex- 
hibit that genius for which he was afterward distinguished. 
At sixteen he produced his Euryclice, his first original statue ; 
soon after iEsculapius, Apollo, and Daphne ; and at twenty-two, 
Dsedalus and Icarus. 

Invited to Rome, he executed an Apollo and a Theseus, which 
gave him an unquestioned rank among the Masters. Soon after 
he was commissioned to execute a mon. to Pope Clement XIV., 
now in the church of the Apostles; and also one to Clement 
XIII., now in St. Peter's — one of his finest works. He also was 
commissioned by the Senate of Venice to erect a mon. to the Ad- 
miral Emo, for which he was awarded a gold medal and a life 
annuity. 

In 1800 he completed his masterpiece, Christ from the Cross, 
which he presented to the church of his native village. His Per- 
seus was placed in the Vatican gallery by public decree — an honor 
hitherto denied modern art. In 181G the Pope ordered his name 
to be enrolled in the Golden Volume of the Capitol, and a pension 
of 8,000 crowns a year. 

Among his other noted works are a colossal statue of Napoleon, 
Marie Louise, Venus from Pauline Bonaparte (see Venus), and 
Washington, the first commission of the New World to the Old. 
Entombed at Possagno, the magnificent monument he had de- 
signed for Titian was erected in his honor in the church of the 
Frari, at Venice. (See Frari.) 

"He attained an especially pleasing grace in the representation of womanly 
beauty, somewhat marred, however, 03^ a certain elegant smoothness; but falls 
altogether into the theatrical manner when he attempts heroic themes, as th* 
Boxers and Perseus. 11 — Liibke. 

" The vile classicality of Canova." — Euskin. 

Capitoline Galleries. See Part II., Capitoline and Palact. 
of the Conservators. Pp. 432 and 463. 

* Cap'-i-to-line Hill, Rome. From the southern end of tho 



64 



CAPI 



12 



Forum. 
Pal of the Senator. 



10 



13 



15 



15 



11 



Piazza del 
Campidoglio. 



14 



a 



Corso, the approach to the Capitol is through the small Piazza 
Ara Coeli. At the foot of the hill the long flight of steps to the 
1. leads to the ch. of S. M. Ara Coeli (15). 

To the r. is the carriage-way, and in the centre, La Cordon- 
nata, the grand staircase (1) leading to the Piazza del Campi- 
doglio, opened 1530, 
upon the occasion of 
the entry of Chas. V. 
It was near the lion 
on the 1. (1) that 
Rienzi, the Tribune, 
met his death when 
fleeing down the 
steps. Upon the 1., 
as we ascend, is a 
small garden (2), in 
which a living wolf 
is kept. At the sum- 
mit, upon the cor- 
ners of the balus- 
trade, are the cele- 
brated statues * of 
Castor and Pollux 
(8), standing beside 
their steeds. See 
Castor and Pollux. 

Beyond these, on 
either side (4), are 
the so-called * Tro- 
phies of Marius, believed, however, to be not earlier than the 
time of Alexander Severus ; next (5), r., Constantine; and (5) 1., 
Constans, from the Baths of Constantine ; and lastly, on the r., 
the first milestone from the Appian Way, and on 1. the seventh. 

In the centre of the Piazza (6) is the renowned statue of 
*Marcus Aurelius (see Aurelius). 

It was here that Romulus is said to have founded his Asylum ; 
and here occurred the revolt under Tiberius G-racchus, B.C. 133. 

On the right of the Piazza (7) is the Palace of the Conservators, 
containing the Picture Gallery and the Protomoteca ; on the 1. 
(14), the Capitoline Museum, and in front (11), the Palace of the 
Senator. See Capitoline Mus. and Palace of th& Conserv. 



5 4 3 



3 4 5 



Piazza Ara Coeli. 



CAPP 05 

Upon the eminence to the left or east (15), where the church 
of Ara Cceli now stands, formerly stood the Arx or old Roman 
Citadel; the temple of Honor and Virtue, B.C. 103 ; the temple 
of Jupiter Feretrius, built by Romulus; the temple of Juno 
Moneta, b.c. 345 ; and the statue of Jupiter, B.C. 293. 

Upon the r. (8), Numa Pompilius erected his temple of Fides 
Publica; and Tarquinius Superbus, B.C. 535, that of Jupiter 
OapitoUnus, which was burned B.C. 83, having stood 4 centuries. 
Rebuilt by Sylla, it was again burned, A.D. 69 ; again rebuilt by 
Vespasian ; finally was sacked by the Vandals, A. D. 455, and fell 
into ruins. Near this temple was that of Jupiter Tonans, built by 
Augustus. 

Between the two heights was the Tabularium, or Hall of Rec- 
ords, upon the foundations of which (11) the present Palace of 
the Senator — with tower and clock — now stands. It was in front 
of this building that Petrarch received his crown of laurel, 1341. 
The Piazza, Museums, and Palace were designed by M. Angelo. 

The Gate which Tarpeia betrayed to the Sabines was to the 1. 
of the Palace of the Senator (12), at the foot of the steps near 
the Arch of Sept. Severus. 

The Tarpeian Rock. Two precipices, both upon the right, are 
shown as the historic place (9, 9) ; one may be approached by a 
road from the n. end of the Piazza, past the Pal. of the Conser- 
vators ; the other from the s. end, past the same Palace. This 
last is believed to be the rock down which Crassus and Manlius 
were thrown. Both precipices may be seen from below ; the first 
from Via di Tor de Specchi ; the other from Via di Monte Tarpeo. 

The street to the right of the Palace of the Senator (10) and 
the steps to the 1. (12) lead to the Forum. 

Cappuccini (cap-poo-chee-nee), Ch. of the, Pi. Barberini, 
Rome. In the 1st chapel, r. , is *G-uido's Michael and the Devil; 
3d chapel, Death of St. Francis, Domenichino; 1st chapel, 1., the 
* Visit of Ananias to Saul, by Cortona. To the 1. of the high 
altar is the tomb of Prince Sobieski, son of John III. of Poland. 

*Beneath is the cemetery of the brotherhood, the earth of 
which was brought from Jerusalem. The space being insuffi- 
cient for the needed use, upon the death of a frere, the body long- 
est buried is removed to make room. The bones thus exhumed 
are disposed in most singular and fantastic arrangements on 
the walls, and overhead — some still wrapped in their monastio 
habits. 



66 



CARA 




Caraealla — Naples. 



Caraealla, Rom. Emp., 211-217, proper name M. Aurelius 
Antoninus, son of Sept. Severus, b. at Lyons, a.d. 188. Accom- 
panying' his father to Britain, he was proclaimed Emperor jointly 
with his brother Geta, at York, his father having died while 

there. His brief reign of 6 years was 
marked only with cruelty and extrava- 
gance. He murdered Geta, forbade his 
name being spoken, and chiselled it from 
the Arch in the Forum, and was at last 
himself assassinated. 

His statues have a scowling expression, 
and an inclination of the head toward 
the shoulder, an affectation he assumed, 
that he might resemble Alexander the 
Great. 

* Baths of, Rome, on the Via Appia, 
f ml. beyond the Arch of Constantine, 
erected a.d. 212; among the most ex- 
tensive and interesting ruins of Imperial Rome. The Baths had 
rooms for 1,600 bathers, and included warm, cold, and vapor 
baths, a stadium, gardens, and a large reservoir. 

Many of the richest antique works of art were found here ; 
among which are The Dying Gladiator, Venus Callipyge, the 
Flora, Hercules, and Toro of Naples, and the Fighting Gladia- 
tor. Upon the destruction of the aqueducts, by Vitiges, 537, 
these, together with other Thermae, fell into ruins. 

Car-a-vag-gio (cahr-ah-vad'-jo), IVIichseiangelo da, 
Amerighi, 1569-1609, b. at Caravaggio, Italy. Lived in Rome, 
Naples, and Sicily; was the leader of the Naturalistic School; 
was particularly effective in light, shade, and drapery ; his 
treatment is sometimes low, approaching the vulgar. His mas- 
terpiece is the Entombment, in the Vatican. 

" It is his delight to prove to the beholder that all the sacred events of olden 
time, occurred just as prosaically as in the 16th cent." — LilMe. 

•'His pictures are characterized by dark, wild passion and tragical vulgarity. 
The nature he studied was coarse, brutal, and low. Its scenes were rough and 
dreary landscapes, fierce camps, or rude drinking-houses ; its heroes, assassins, 
gypsies, lawless soldiery, and most profane saints. ... In scenes from low 
life he is not so disagreeable. 11 

His works often, however, display the hand of a master of great power. Kugler 
calls his style " the poetry of the repulsive." 

Peincipal Woeks: Barb., I. No. 9, II. 81 : Berlin. 359, 365; Borgh., VI. 14; 
Cap., Fortune Teller; Cassel, 148-9; Corsini, III. 18, 27; Colonna, man drinking: 



CARL 6? 

Dresden, 175-6-8; Hermit., 215-6-7-8; Liecht., III. 61; Munich, 532; Pesth, 
VI. 225 ; Sciarra, Card-Flayers ; Spada, IV. 30 ; Vat. Entombment. 

Carlisle, E~?ig.,,ipoip. 40,000. Espoused the cause of Ch. I., 
and suffered greatly in the civil war ; surrendered to Prince Ch.. 
1745 ; retaken by the Duke of Cumberland, who put the officers 
of the garrison to death as traitors. See Route No. 5, Note 8. 

*Carrnine (kar'-mee-na), Madonna del, Church of, 
Florence., in the Piazza del Carmine, 1422 ; burned, 1771. Among 
the portions that escaped the fire was the Brancacci chapel in the 
s. transept, containing the celebrated * frescoes by Masaccio, 
1423-28 ; best seen in the afternoon. Riglit wall, above, Healing 
the Lame and Raising of Tabitha. Altar wall, above, *Peter 
preaching; Peter baptizing; below, Peter healing the sick and 
distributing alms. Left wall, above, Peter finding the money ; 
below, Raising Eutychus, Peter enthroned. Entrance wall, 
above, * Expulsion from Paradise, The Fall. 

Carracci, Garacci (car-rat'-chee). I. Ludovico, 1555- 
1619, b. at Bologna. Pupil of Tintoretto, and founder of the 
School of the Carracci. In connection with his nephews, Agos- 
tino and Annibale, he gave to Art in Bologna a new and distinc- 
tive character. The Carracci endeavored to introduce higher 
principles of art, and a more faithful adherence to Nature. Lu- 
dovico was so successful in his representations of the profounder 
emotions of grief, that an endless number of Ecce Homos and 
Weeping Marys followed from the Bolognese School. 

Principal Works : Bolog., 13 works; Belv., one; Borgh., IV. 3; Brera, 
45S; Cap., 119; Corsi., VII. 26 ; Doria, VIII. 22; Edinb., 121, 330; Hermit., 
165; Munich, 435; Nat. Gall., 28. 

II. Agostino, 1557-1602, b. at Bologna. Distinguished more 
as an engraver than as a painter. Of his pictures, the Infant 
Hercules, in the Louvre, and the St. Jerome, in Bologna, are the 
most meritorious. His plates, which are among the most cele- 
brated in Italian Art, number not less than two hundred. 

PFwINCipal Works : Bolog., Nos. 34, 35 ; Belv., one ; Cassel, 120 ; Munich, 422; 
Turin, 160. 

III. Annibale, 1560-1609, b. at Bologna. The most distin- 
guished of the Carracci. In his early works, his style shows the 
influence of the Lombard and Venetian Schools, especially of 
Correggio and Paul Veronese. His later works at Rome indicate 
equally the influence of the antique, and of Raphael and Angelo. 

His works are numerous, and found in almost every gallery ■ 



68 CARR 

subjects are usually religious. His Madonnas and Holy Families 
take a high rank ; especially so his Three Marys. The most im- 
portant of all his works are those of the decoration of the Farnese 
Palace, for which he was meanly paid by its princely owner. 

His body was entombed in the Pantheon at Rome, in accord- 
ance with his wish, " near his friend Raphael." Of the pictures 
by the Carracci, not less than 250 have been engraved. 

Pbincipal Works: Berlin, Nos. 370-2; Bolog., 36-7-9, 40; Borgh., IV. I., 
28 ; Brera, 460 ; Cassel, 125-6 ; Dresd., 449, 45U-1-2 ; Hermit., 166, 169, 172-3-4- 
6-7-8 ; Louvre, 119, 120-1-3, 130-2-4-5 ; Munich, 440, 1252 ; Nat. Gall., 9, 25, 
26, 88 ; Turin, 158. 

Carriages. See Part III., Introductory Notes. P. 504. 

Carrousel, Arc de Triomphe du. Place du Carrousel, 
Palis, erected by Napoleon I., in 1806, copy of the arch of Sept. 
Severus, Rome ; 63 ft. wide, 47 high, and surmounted by a Quad- 
riga, or 4-horse chariot of victory. The celebrated bronze horses 
of St. Mark's, brought from Venice as trophies, were placed here 
by Napoleon I., but restored to Venice by the Allies. The relief 
represents : front, Battles, r. Austerlitz ; 1. Ulm ; back, r. Peace 
of Tilsit ; 1. taking of Munich ; n. end, taking of Vienna ; s. 
Peace of Presburg. 

Carrousel, Place du, Paris. That portion of the en- 
closure between the Louvre and Tuileries, directly east of the 
Arc de Triomphe du Carrousel, so named from a kind of eques- 
trian ball given here by Louis XIV., in 1662. 

**Cartoons of Raphael, Tapestries. In 1515-16, Raphael 
executed ten cartoons for tapestries intended to cover the lower 
part of the walls of the Sistine Chapel of the Vatican. They are 
about 12 ft. in height, and 14 to 18 in length. The scenes rep- 
resented are : 1, The Conversion of Paul ; 2, Peter Receiving 
the Keys ; 3, Paul Healing the Lame Man ; 4, Miraculous Draught 
of Fishes ; 5, Paul and Barnabas at Lystra ; 6, Paul Preaching at 
Athens ; 7, Slaughter of the Innocents ; 8, Stoning of Stephen ; 9, 
Death of Ananias ; 10, Paul in Prison. They were executed upon 
paper, which the weavers cut into strips for convenience, and 
threw away when the tapestries were completed. 

Numbers 1, 8, and 10 of the original cartoons are lost ; the re- 
maining seven, through the influence of Rubens, were purchased 
by Chas. I., of Eng., and taken to London. During the Common- 
wealth they were neglected, and upon the Restoration sold by 
Chas. II. to the French Ambassador, Lord Danby interfered 



CAST 6& 

and prevented their being taken from the country. They were 
however, stowed away in boxes till the time of Wm. III. , when, 
through the advice of Sir Godfrey Kneller, they were pasted 
upon canvas and placed in Hampton Court. Here the cartoons 
had the misfortune to be restored, as Fairholt remarks, 
" by a very bad artist named Cooke, who repainted them without knowledge or 
taste, and without any reference to the original design, when portions had been 
lost. In the Miraculous Draught of Pishes, the Saviour's robe, originally crimson, 
is now white, though the red shadow on the water still remains. No educated eye 
can look with any other feeling than disgust at the daubs, which cover the work 
and destroy their beauty." 

Recently they have been removed, and are now in the Raphael 
Room of the South Kensington Museum, London. 

These cartoons rank among Raphael's best works. 

The Tapestries. Three sets of tapestries were made from 
the Cartoons, now respectively at Rome, Berlin, and Dresden. 

The Rome Tapestries were executed at Arras, France, in silk, 
wool, and gold, each piece costing about $3,500. In 1527, in a 
siege of Rome, they were carried away and much injured. They 
were returned in 1533. In 1788 they were seized by the French, 
sold to some Jews, and repurchased 1808, by Pope Pius VII., ai^d 
are now in the Vatican. See Vatican Sculptures. P. 479. 

The Berlin Tapestries, nine, now in the Rotunda of the Berlin 
Museum, were also executed at Arras, France, for Henry VIII. 
of Eng. Afterward they came successively into the possession of 
Emp. Chas. I., the Dukes of Alva, and finally, in 1844, Fred. Wm. 
IV. of Prussia. 

The Dresden Tapestries, G, now in the Cupola Saloon of the 
Dresden Gall. ; purchased by Gen. Field-Marshal Flemming, in 
1728, for $9,000 ; lost and found again. 

Castor and Pollux, myth. Greek, Dioscuri. Sons of Jupi- 
ter, deified and placed among the constellations ; worshipped as 
the protectors of sailors. At Rome they were believed to have 
assisted at the memorable battle of Regillus, B.C. 498, alter 
which they rode to Rome as the bearers of the joyful intelligence, 
and thence vanished into the heavens. 

Castor and Pollux, Statues of. *I. Piazza del Quirinale, 
formerly Monte Cavallo, Borne, standing in front of the Quirinal 
Palace. These groups, sometimes called the u Horse Tamers," 
18 ft. in height, date from the time of the Empire, and '.-re copies 
of works by the School of Lysippus. 

They stood in the Baths of Constantine, and *»e of frequent 



70 



CATA 




Catacombs of St. Oalixtus — Romk. 



CAST 



'1 



mention in history. Unlike most of the works of art in Rome, 
they have never been buried. They were erroneously inscribed 
as being the works of Phidias and Praxiteles, and when placed in 
their present position, 1786, the riders were exchanged. Copies 
of these groups are in Berlin and St. Petersburg. — *II. Capitoline 
Hill, at the head of the staircase from Pi. Ara Cceli, standing on 
either hand. These 
statues were found in 
the 16th cent, in the 
Ghetto, and were sup- 
posed to belong to the 
Theatre of Balbus. 

"They seem to be sons of 
the morning, and full of life 
and strength."— Hawthorne. 

Castor and Pol- 
lux, Tern pie of. See 

Roman Forum. 

Catacom bs, Rome. 
These subterranean 
cemeteries, originally 
quarries, numbering 
nearly 60, lie scattered 
outside the walls of 
the city on all sides. 
The passages are usu- 
ally 7 or 8 ft. high and 
4 or 5 ft. wide, with in- 
numerable side pas- 
sages or chambers, in 
which the dead were 
placed in tiers. In- 
scriptions, cinerary 
urns, and paintings abound. Among those most desirable to 
visit are the Catacombs of St. Agnes, \ ml. beyond the Ch. of 
St. Agnes, and those of St. Calixtus, near the 2d milestone on the 
Appian Way, \\ ml. from the Porta St. Sebastiano, of especial in- 
terest as containing tombs of several early popes. On the walls, 
many paintings of the 7th and 8th cents., of the Byzantine 
style. The catacombs appear to have been first used as burial 
places by the Jews. 




St. Cecilia— Raphael. 



72 



CECI 



"The whole structure of martyrology based on the catacombs is utterly with- 
out foundation." 

"Everything in the catacombs speaks, not of struggle and suffering, but of 
peace." — James Freeman Clarke. 

Cecilia, St., is supposed to have lived in the 3d cent., and 
to have suffered martyrdom. 

**I. Cecilia, St., painting, in the Acad. Bologna, by Raphael, 
one of his masterpieces. It was painted about 1515, for the ch. 
of S. Giovanni in Monte, Bologna ; was carried to Paris, 1776, and 
returned, 1815. 

St. Cecilia is represented in an ecstasy, listening to the heavenly 
music of an angel choir. On her r. are SS. John and Paul ; on 
her left St. Augustine and Mary Magdalen. 

"The saint is neither angelic nor ecstatic; she is a vigorous, healthy, well- 
developed girl, of rich, warm blood, and gilded by the Italian . sunshine with 
glowing and beautiful color. On her left another young girl, less robust and 
more youthful, has more innocence, but her purity is yet only passivity. . . . 
Their placid minds are not disturbed ; their tranquillity is that of ignorance." — 
Taine. 

"One of the grandest and most beautiful figures of Raphael." — Burckhardt. 

II. Cecilia, St., painting by Carlo Dolci, in the Dresden Gal- 
lery. Copies in several collections. 

Cecilia, S., in Trastevere, ch., Rome, founded 230, re- 
built 821, present building erected 1725. The body of St. Cecilia, 

which was originally 
deposited in the Cat- 
acombs of St. Calis- 
to, reposes beneath 
the high altar. The 
gallery is arranged 
with a screen, al- 
lowing the nuns of 
the adjoining con- 
vent to participate 
in the church cere- 
monies without be- 
ing observed. 

♦Cecilia, St., 
stat. by Maderno, 

1599. 

St. Cecilia — Maderno. 

" In the church of Sta. 

Cecilia, in Trastevere, is one of the most beautiful and interesting statues in 

Rome, that of the saint to whom the church is dedicated The whole 




( EME 



73 



air of the figure represents death, and not sleep. The feminine delicacy and puri- 
ty, the tenderness of feeling and depth of sentiment which breathes through it, 
are in the highest degree admirable, and make it one of the most touching and 
beautiful works of modern sculpture." — Hillard. 

" Ninety-six silver lamps burn continually before her shrine. In regarding 
this statue, it will be remembered that Cecilia was not beheaded, but wounded in 
the throat ; a gold circlet conceals the wound." — Hare. 

Cemetery, Protestant, Bome, near the Porta S. Paolo, 
and the Pyramid of Cestius. The Old Cemetery is upon the left 
on entering, the New along the Aurelian Wall. Here are buried 
Keats, Shelley, Gibson, the sculp- 
tor, John Bell, the eminent Eng- 
lish surgeon, and others, English 
and American. 



Cenci, Beatrice (bay'-ah- 
tree'-chay chain'-chee),Cuido's 
Picture of, in the Barberini 
Palace, Rome. Later research 
leads to the conclusion that the 
story of Guido's sketching the 
portrait of Beatrice in the prison 
is altogether fanciful. 

"The portrait of Beatrice Cenci is a 
picture almost impossible to be forgotten. 
Through the transcendent sweetness and 
beauty of the face there is a something 
shining out that haunts me." — Dickens. 

"It is the very saddest picture ever painted or conceived ; it involves an un- 
fathomable depth of sorrow. It is a sorrow that removes this beautiful girl out 
of the sphere of humanity. You feel, all the time you look at Beatrice, as if she 
were trying to escape from your gaze. It is infinitely heart-breaking to meet her 
glance, and to know that nothing can be done to help or comfort her. Its spell 
is undefinable, and the painter has wrought it in a way more like magic than 
anything else. 

"It is the most profoundly painted picture in the world ; no artist did it, nor 
could do it again. Guido may have held the brush, but he painted better than 
he knew." — Hawthorne. 

u In the whole mien there is a simplicity and dignity, which, assisted with her 
exquisite loveliness and deep sorrow, is inexpressibly pathetic." — Shelley. 

Cenci, PaSazzo (chain'-chee), .Rome, on or near the site of 
the Theatre of Balbus, ancient residence of the Cenci family, but 
after the Cenci tragedy was deserted for many years. 

Centaurs (sen'-taurs— bull-killers), myth. Bepresented as 
half man and half horse, probably from the Thessalian custom of 




Beatrice Cenci — Guido. 



74 CERE 

hunting the bull on horseback. Celebrated in story for their con- 
test with Hercules and the Lapithge at the marriage of Pirithous. 

Ceres (see'-reez), Deme'ter of the Greeks, myth, the goddess 
of the earth, the protectress of agriculture and all fruits of the 
earth. Represented as wearing a garland of ears of corn, and 
bearing a sceptre. 

Statues: Berlin, 5,139; Br. Mus., 133; Cap., III. 30; Borg. Villa, III. 4; 
Glyp., 79; Nap., 86; Vat. (Br.), 83; (P. C), 542. 

Ceres and Proserpine, Temple of, Rome, near the 
Temple of Vesta. Some portions of an ancient structure, incor- 
porated into the church of S. M. in Cosmedin. are believed to be 
the remains of the Temple of Ceres and Proserpine. 

Chambre des Deputes. See Corps Legislatif. 

*Chamonix (sham'-o-ny), Fr., Haute Savoie. See Route 36. 
Railway nearly completed from Geneva to Bonneville. The nar- 
row Valley of Chamonix extends about fifteen miles s.w. to n.e., 
having on the south the chain of Mt. Blanc, and on the north the 
Aiguilles Rouges and the Brevent. Amid the summit valleys of 
Mt. Blanc are the ice-fields, branches of which, extending down 
the valleys, are known as the Glacier des Bossons, des Bois, Mer 
de Glace, and d'Argentiere. 

Principal Places of Interest : Mer de Glace, Montanvert, the 
Chapeau, the Flegere, the Arveyron, and Mont Blanc. 

Ample time should be allowed for these excursions, which 
the guides are inclined to understate. Tariffs for horses, mules, 
guides, and boys, established by governmental authority, will be 
found in the hotels. Bargain in advance. 

*Montanvert (mon-taii-vair — green mountain), 6,302 ft. alt., 
a point commanding a * *view of the Mer de Glace for a distance 
of six miles, which, as de Saussure observes, resembles " a sea 
suddenly frozen, not during a tempest, but when the wind has 
subsided, and the waves, though still high, have become blunted 
and rounded." From Montanvert the glacier may be crossed to 
the Chapeau on the opposite side. In this case the males must 
be sent down around the foot of the glacier up to the Chapeau. 

Excursion from Chamonix to Montanvert and return, 8 hrs. 

Mer de Glace (mer-deh-glahs ; sea of ice). An ice- 

stream from the great ice-fields of Mont Blanc to the Valley of 
Chamonix ; 12 miles in length, 1 in width, the lower portion of 
which is called the Glacier des Bois. The best view of the Mer de 
Glace is obtained from the Montanvert. 



CHAM 7b 

" No traveller should attempt to cross a glacier without a guide, and in all cases 
the guide should take the lead."— Bradshaw. 

The Jardin (zhar-daft'), a rock rising in the Glacier de Tale- 
fre, alt. 9,143 ft.; commanding a magnificent view ; a fatiguing 
excursion of 3 hrs. from Montanvert. Guide necessary. 

The Chapeau (shah-po'), 5,080 ft. May be reached by cross- 
ing the Mer de Glace from Montanvert, or by mule via Lea 
Tines. Commands a fine view of the Glacier des Bois and the 
Valley of Chamonix. 

*The Flegere (fla-zhair), 5,952 ft. Time, 6 to 7 hrs. Guides 
sometimes recommend the excursion to the Montanvert and the 
Mer de Glace in the morning, and to the Flegere in the afternoon 
of the same day — an undertaking which should be attempted 
only by those capable of considerable endurance. 

**From the Flegere is obtained a most magnificent view of the 
Mont Blanc range, from Col de Balme on the e. to the Glacier 
des Bossons on the s. Best seen toward sunset. 

On the 1. is the sharp point of Aiguille du Chardonnet ; next, 
Aig. d'Argentiere, 12,379; Aig. Verte, 12,564 ; Aig. du Dru, 12,527; 
more distant, Aig. de Moine, 10,323 ; Mer de Glace; Les Jorasses, 
12,661 ; front, Aig. de Charmoz, 10,263 ; distant, Aig. de Crepon, 
11,301 ; Aig. de Bletiere, 11,353 ; Aig. du Midi, 12,030 ; Mont 
Blanc, with a more rounded peak than any of the preceding, 
15,781 ; Dome du Goute, 13,311 ; Aig. du Goute, 12,061. 

Arveyron (ahr-va-ron'), source of the Arve, from beneath the 
Glacier des Bois. The lofty arch may be entered to a consider- 
able distance, but is not altogether free from danger from falling 
masses of ice. This visit may be made in connection with the 
trip to the Flegere. 

Mont Blanc (mon-blon), Haute Savoie, Fr. , 15,781 ft. alt., the 
highest point of land in Europe. The snow-line being at the 
height of 8,000 feet, leaves about 8,000 covered with perpetual 
snow. Amid the elevated valleys of this chain are 34 glacier9, 
estimated to occupy an area of nearly 100 sq. mis. Seven of the 
glaciers descend into the Valley of Chamonix. 

The first ascent of Mont Blanc is said to have been made by 
Balmat, 1786, and a second by Balmat and Dr. Picard, 1787 ; 
the centenary of the ascent was, however, observed in Chamonix 
in 1878. At present the ascent is made nearly every week in 
July and August, attended, not unfrequently, with accident and 
loss of life. Two days are required for the excursion. 



76 CHAM 

Champaigne, Philippe de (sham-pane), 1602-1674; b. 
Brussels ; d. Paris. When quite young he went to Paris, where 
he was employed in decorating the Luxembourg and other pal- 
aces. He excelled as a portrait painter ; these are finished with 
great attention to effect in the matter of laces, jewels, etc. His 
best pictures of this kind are in the Louvre, which possesses 
twenty-one of his works. 

**Champs £iysees (shauns-a-lee-say), Paris. This un- 
equalled avenue and pleasure-ground extends from Place de la 
Concorde to the Arc de Triomphe, about 1 ml. It was originally 
laid out, in 1616, by Marie de Medicis, and called Cours la Reine. 
At the entrance from Place de la Concorde are two groups, The 
Horse -Tamers, by Cousbou. Standing between these groups, the 
Avenue of the Champs Elysees presents a scene of unsurpassed 
beauty, richness, and grandeur. On either hand are promenades, 
shaded walks, flower-gardens, fountains, pleasure-gardens, cafes- 
chantants, which, with the crowds of carriages, riders, and pedes- 
trians, make it in summer, especially in the late afternoon and 
evening, the pleasure resort of the world. 

Proceeding along the avenue, upon the 1. is the extensive struc- 
ture of the Palais de l'Industrie, beyond which is the Panorama ; 
on the r., near by, is the Palais de I'filysee, and beyond, the win- 
ter circus. Immediately beyond these the pleasure-grounds of 
the Champs filysees terminate in the Rond Pont, a circle of six 
parks and fountains. 

Champ de Mars (shaun-deh-mar), Paris. This extensive 
space in front of the ICcole Militaire, exceeding a half-mile 
in length, was originally designed as a grand festive parade- 
ground. It was enclosed with embankments upon which were 
seats, from which thousands of spectators could witness the 
scenes below. In 1790 occurred here the Fete de la Federation, 
when the King, the Assembly, the representatives of the army 
and the provinces took the oath of allegiance to the new consti- 
tution before the Altar of the Country, erected in front of the 
Military School. Napoleon celebrated a similar fete with great 
splendor in 1815. In 1830 Louis Philippe here presented the colors 
to the National Guard, and in 1852 Napoleon III. distributed his 
eagles to the army. Site of the Expositions of 1867 and 1878. 
Occasional military parades take place here at the present time, 
although the more extensive military displays usually occur in the 
Bois de Boulogne. Drill daily, 6-8 a.m. Reviews usually at noon 



CHAP 77 

♦Chapelle Expiatoire (ex-pf«'-ah-twahr'), Paris, Boul. 
Haussman. Louis XVI. and Marie Antoinette were here interred, 
1793, but after the Restoration the bodies were removed to St. 
Denis. On the pedestal of the monuments are copies of the King's 
will and Marie's last letter. In a chapel beneath, the altar marks 
the precise place of the burial of Louis ; a couple of yards distant 
is that of Marie. Mass at 9 ; admission at 10 ; fee. 

**Chapelle,Sainte (shap'-pel'), Paris, is in the s. court of 
the Palais de Justice, near Notre Dame, daily, 12-4, M. and F., 
fee ; other days free. Erected, 1245, for the reception of sacred 
relics brought by the Crusaders from the Holy Land, the chief of 
which are now in Notre Dame. It is a Gothic structure of great 
beauty, 115 ft. by 39, and 112 high. The windows, 48 ft. in 
height, represent scenes from the life of St. Louis. Chapel con- 
tains statues of the Twelve Apostles. Half-way up the spire is 
the tl Crown of Thorns." This church is regarded as one of the 
finest specimens of the Gothic in France. 

Charing Cross, London. The word Charing has been sup- 
posed to be derived from chere reine, dear queen, being one of 
the nine places where the body of Eleanor, Queen of Edward 
III., rested on its way from Lincoln to Westminster. It is found, 
however, that thirty years prior to this event, the village here 
was called Cheringe, probably from the Saxon word charan, to 
bend, both road and river here making a curve. 

A cross was erected by Ed. III. , 1291, which was destroyed by 
the Puritans, 1647. Upon the condemnation of the Regicides, 
this place was selected for their execution; and afterward the 
statue of Charles I. was placed here. See Trafalgar Square. 

A copy of the cross erected by Ed. III. has recently been placed 
in front of the Charing Cross railway station. 

Charlemagne (sharl'-mane'), son of Pepin the Little, and 
grandson of Charles Martel. Upon the death of his brother Car- 
loman, he became, 771, sole monarch of the Empire, which in- 
cluded France and large portions of southern and central Ger- 
many. During his long reign he was almost incessantly engaged 
in wars for the protection of his vast empire. Was crowned 
Emperor of the Romans by Pope Leo III. in St. Peter's, Christ- 
mas day, 800. Was entombed in Aix-la-Chapelle, the city of his 
birth, 814. See Aachen. 

Charles the Bold, duke of Burgundy, 1467-77, invaded 
Switzerland, and suffered a disastrous defeat at Grandson, and, 



78 CHAR 

soon after, a second and equally disastrous rout at Murten. la 
the winter of 1477 he again attacked the confederates of Alsace, 
Lorraine, and Switzerland, near Nancy, which terminated in the 
annihilation of his army and his own death. Entombed in the 
Cathedral at Bruges. 

Charles Edward, the "Young Pretender," grandson of 
James II. of England. Born at Rome, 1720. Engaged in the 
Scotch Rebellion in time of George II. , 1745 ; landed on the 
Western Islands ; marched triumphantly to Edinburgh, which 
welcomed him as king ; met and routed the English Army at 
Preston Pans ; marched to Carlisle, but, fearing to meet the Duke 
of Cumberland with a vastly superior army, withdrew to Scot- 
land, and was totally defeated at Culloden ; fled to the Westerp 
Islands, and, in the disguise of a female, escaped to France. 

Charles I., Eng., son of James I., came to the throne, 1625. 
Through his intolerance, discontent was begotten and rebellion 
broke out, 1642 ; the government was overthrown under the lead 
of Cromwell, the king seized, brought to trial in Westminster 
Hall, London, Jan., 1649 ; on the 27th he was condemned, and 
executed at Whitehall on the 30th. 

Charles il., Eng., son of Charles I., was proclaimed king at 
the gates of Westminster, May, 1660, about two years after the 
death of Cromwell ; he died, 1685, leaving the name of having 
been a ' ' tyrant and one of the worst kings that ever sat on the 
English throne." See Stirling. 

Charles V., Ger., born at Ghent, 1500, King of Spain and 
the Netherlands, Emperor of Germany, and Archduke of Austria. 
As the rival of Francis I. of France, and the supporter of the Pa- 
pacy against the Reformation, he kept Europe in a state of war 
for nearly half a century. Being crowned by the Pope, he con- 
voked the Diet of Spires, 1529, against which Luther and his 
followers protested, thus giving origin to the name Protestants ; 
and the Diet of Augsburg, at which was presented the Augsburg 
Confession ; and in 1547 entered upon war for the extinction of 
Protestantism. Being defeated in 1552, he concluded peace at 
Passau, granting religious freedom. Two years later he resigned 
the crown, and retired to the Monastery of St. Justus, near Pla- 
centia, Spain, where he died, 1558. 

Chatelet, Place du (plas-du-shat-a-lay), Paris, at the in- 
tersection of Rue de Rivoli and Boulevard Sevastopol. On the n. 
side is the Tour of St. Jacques, 175 ft. high (1508)— a remnant of 



CHAT 79 

the church of St. Jacques, removed in 1789. This tower is nota- 
ble as that within which the philosopher Pascal made his early 
experiments upon atmospheric pressure. His statue is seen 
within the tower. In the centre of the Place is the Fontaine de 
la Victoire, commemorative of the victories of Napoleon I. The 
Colonne du Palmier, upon which are inscribed the names of 
memorable battles, is surmounted by Victory bestowing laurels. 
Around the base are Power, Justice, Vigilance, and Fidelity. 

*Chatsworth, Eng., the seat of the Duke of Devonshire, is 
considered the finest mansion in England. It is reached by car- 
riage, 3 mis. from Rowsley Sta., Midland rly. Open daily, 11-4, 
ex. Sun. The tower where Mary, Queen of Scots, spent the most 
of her time, is called Mary's Bower. 

The mansion is richly decorated, and possesses a very valuable 
collection of pictures and sculptures. 

The gardens comprise 80 acres, the Arboretum 40, and the 
Conservatory, the largest private one existing, is 216 by 3 26 ft., 
and served as a model for the original Crystal Palace. 

*Chaumont, Pare du (sho-mofi), or Buttes Chaumont, 
Paris, n.e. part of the city. One of the smaller, but most in- 
teresting parks of the city. The hills in this quarter having been 
extensively quarried for gypsum, advantage was taken of these 
excavations for the construction of grottoes, cascades, and lakes, 
affording an unusual combination of romantic scenery. A minia- 
ture Grecian temple, called the Temple of the Sibyl, surmounts 
a rocky eminence ; the fountain exceeds in the height of its jet 
that of Versailles. 

Chester (castro, camp), 16 mis. s. of Liverpool. An impor- 
tant military post of the Romans. Destroyed by iEthelfirth, 
607 ; rebuilt by the Danes; was the last city of England to sub- 
mit to Win. the Conq. ; taken by the Pari, army, 1645. The Walls, 
originally erected by the Romans, still exist, enclosing the central 
portion of the town and making a pleasant promenade of 2 mis. 
The present walls are principally of later structure. Along the 
principal street, Watergate, the shops are upon the second floor, 
in front of which a two-story sidewalk extends. 

The Castle, seen from the walls, is mostly modern. 

The Cathedral, dating prior to 1200, has been much renovated 
in the later centuries, the n. transept being nearly all that now 
remains of the early structure. The stained glass is modern. 
See Route 9, Note 4. 



80 CHIA 

Chiaramonte, Museo (moo-zay'-o kee-ar'-ah-mon'-tay), 
Rome. See Vatican, Sculptures. P. 479. 

Chigi Palace (kee'-zhee), Rome, Corso, corner of the Piazza 
Colonna, has a small gallery of pictures and a library of great 
value. 

Chi I Ion (chil'-lon or shee'-yon), a castle at the upper end of 
Lake Geneva, Switz., the scene of Byron's Prisoner of Chillon. 
Open daily, fee. See Route 34, Note 8. 

Chiusi (kee-yu'-se), Italy ; Rom. Glusium, ancient Etruscan 
capital. In the vicinity are many tombs, from which large stores 
of Etruscan bronze and terra-cotta wares have been taken. See 
Route 50, Note 14. 

Christian Museum. See Lateran. P. 444. 

Christopher, St. {Christ-bearer). 

A giant, who, though not a Christian, desired to be useful, and dwelt beside a 
river that he might aid those wishing to cross. Hearing a child's voice one 
night, he went forth and took the child on his shoulders to carry him across the 
stream. When in the midst he waj nearly borne away by the violence of the 
waters ; after he had reached the shore the Christ Child made himself known 
and vanished. 

The image of St. Christopher was often painted of prodigious proportions, some- 
times of the height of 30 ft. 

Ciborium, a highly ornate pyramidal structure in which the 
host is kept. 

Cicero, M. Tullius, Rome; b. b.c 106; one of the most 
noted of Roman orators and Latin writers ; was consul in 63, dur- 
ing which he crushed the Catiline conspiracy. In the contest 
between Pompey and Caesar he joined the former, but after 
Pompey's overthrow Caesar received him with kindness and per- 
mitted his return to Rome. After Caesar's murder he attacked 
Antony with great vehemence, which proved his ruin, as, upon the 
formation of the Second Triumvirate, his name was placed upon 
the list of victims. He fled, but was overtaken near Formiae and 
beheaded. His head and hands were taken to Rome and, by order 
of Antony, nailed to the Rostra. He was then in his sixty-fourth 
year. Cicero's house was upon the Palatine Hill, facing the Forum 

Statues : Naples, 608 (367) ; Vat. (Ch.), 668, bust. 

Cigoli, Ludovico Cardi da (chee'-go-ly), 1559-1613, 
Florence ; a painter of greater merit in coloring than in composi- 
tion or expression. Has many works in the Uffizi. A favorite sub- 
ject was St. Francis. His masterpiece is an Ecce Homo in the Pittt 

Cima (chee-mah), Gio. Bat. da Conegliano (co-neel- 



CIMA 



81 



yee-ah'-no), b. at Conegliano; d. about 1517. Painted in Venice; 
subjects were Madonnas and religious themes. He usually has a 
background of mountains. His works are drawn with graceful 
elegance, and his coloring is brilliant and delicate. He is among 
the fiist masters of the School of Bellini. His best works are in 
Venice, Vicenza, Parma, and Milan. 

Cimabue, Giovanni (chee-mah-boo'-a, jo-vah'-ny), 1240- 
1302 ? b. at Florence. The earliest of modern masters of paint- 




The Madonna Enthroned. 



ing, through whose efforts, though he did not discard the Byzan- 
tine, modern art received its first decisive impulse toward the 
natural and the beautiful. His *Madonna, now in S. M. Novella, 



82 CIRC 

Florence, was regarded with such favor that upon its completion 
it was borne in triumphal procession, with songs and shouts, from 
the master's studio to the church where it now remains. 

But few of his works are known to exist. The Louvre, Uffizi, 
and other galleries possess pictures attributed to Cimabue, but 
Burckhardt regards the Christ, in the Cathedral at Pisa, the Ma- 
donna in the Acad. Flor., and the one in S. M. Novella, as the 
only genuine Cimabues now known. 

He died 1302, and is entombed in the Cathedral at Florence. 

" His two great Madonnas made an epoch in Art. 1 ' 

Circus Agonalis (ag'-o-nay'-lis), Rome, by Alex. Severus, 
a.d. 222 ; the present Piazza Navona. See Navona. 

Circus Maxim us, Rome. Established by Tarquinius Pris- 
cus. Occupied the valley between the Palatine and Aventine 
hills. Little of the structure remains. Noted especially as the 
place of the Rape of the Sabines. 

Circus of Nero, Rome. See Si. Peter's. 

Cirque d'£te (seerk'-day-tay). Circus in the Champs Ely- 
sees, near the Rond Pont. At 8 every evening, summer only. 

Cirque d'Hiver (seerk'-dee-ver), Park. Circus, Boulevard 
des Filles du Calvaire. At 8 every evening, in winter only. 

Civita Vecchia (cheev'-e-tah-veck'-ke-ah; old city), Italy. 
The port of Rome, 38 mis to the n.w. ; constructed by Trajan; 
captured by Totilla ; retaken by Narses, 553. See Route 54. 

Ciaude Lorraine, Gelee, 1600-1682; b. at Champaigne, 
in Lorraine. Of humble origin, he was apprenticed as a pastry- 
cook. By some means not clearly known he reached Rome, 
where, it is related, he served as cook for an artist, through 
whose kindly aid he first learned the principles of art. He was 
an enthusiastic and patient stifdent of nature, especially of tho 
effects of light and sunshine. So accurate are his delineations 
that it is said both the season of the year and the hour of the day 
may be inferred from his landscapes. His afternoon haze and his 
sunsets have never been surpassed, and his architectural compo- 
sitions are equally faultless. He met with less success in figures 
and animals. His works number over 400, and are now held at 
most extravagant prices. 

Personally, Claude was of attractive appearance and of kindly 
and amiable feeling. He died at Rome, at the age of 82. 

" Of all landscape painters in any country, none has been so universally ap- 
preciated as Claude. His very name has become synonymous with sunshine and 
serenity.'' — liadcliffe. 



CLEM 83 

" He attains a height of beauty in the magic play of his sunlight, in the melt- 
ing softness of his dewy undergrowth, in the charm of a delicately vanishing dis- 
tance, as intangible as a perfume which soothes the soul like the solemn peace of 
an eternal Sabbath. With him all is glory and light, the unclouded purity and 
harmony of the primeval morning of creation in Paradise." — Liibke. 

4i A gift waB given to the world by Claude, for which we are not, perhaps, suffi- 
ciently grateful. He set the sun in the heavens, and was, I suppose, the first who 
attempted anything like the realization of actual sunshine in misty air." — Buskin. 

Pbincipai. Works: Berlin, 428; Doria, 2d Cor., 12; Dresd., 654-5; Dul., 
244, 270-5 ; Hermit., 1428-9, 1430-1-8-9 ; Louvre, 219-220-1-3-4-5-6, 231 ; Ma- 
drid, 1985-6-7-8-9, 1991-2 ; Modena, 237 ; Munich, 391-9, 407, 416, 432-3 ; Naples, 
32; Nat. Gall., 2, 5, 6, 12, 14, 30, 61, 1018; UffL, 774, 848. 

Clemente, San (clay-main-tay), Ch., via S. Giovanni, i 
nil. beyond the Coliseum ; one of the best-preserved of the an- 
cient basilicas of Rome, erected to the memory of St. Clement, 
the companion of St. Paul. 

Recent excavations show that beneath the present church there 
existed an extensive ancient basilica, which had been erected 
upon the ruins of a still more ancient structure, probably of the 
Republican age. The ancient basilica is mentioned by St Je- 
rome as existing in 393. Here Gregory the Great (590) read his 
32d and 38th homilies. Adorned by Pope Hadrian I. with paint- 
ings, some of which still remain. Almost wholly destroyed, 1084. 
The present building was erected in 1108. 

Frescoes by Masaccio adorn the Chapel of the Passion ; left 
side on entering, St. Catherine refusing to worship idols; She 
converts the Empress ; The Empress beheaded ; Catherine disput- 
ing with the philosophers ; She is delivered from the wheel by an 
angel ; Her execution. 

In the excavated church below, the columns and paintings are 
of great interest, some of the latter dating from the 5th and 7th 
centuries. 

Cloaca Maxima (clo-ah'-ka), Home, an underground canal or 
sewer, leading from the lower part of the Forum to the Tiber, the 
earliest known use of the arch by the Romans. Built by Tarquin- 
ius Priscus, b. c. 600 ; said by Strabo to be large enough to admit 
a wagon loaded with hay ! Pliny speaks of it as having existed 
for 7 centuries without injury. Now 24 centuries old, and appa- 
rently as perfect as when constructed. May be seen at its outlet 
into the Tiber, and near the Arch of Sept. Severus in Velabrum. 

Clo-tilde, St., Church of, Paris. In Place Bellechasse 
(1846) ; cost 8 million francs. The windows, frescoes, and carv- 
ings of the stalls are all of great merit. 



84 CLOU 

Cloud, St. (san cloo), on the Seine, 4 mis. below Paris. 
Steamboat ; chemin de fer, from St. Lazare, or tramway from 
the Louvre. First fitted for a royal residence by Louis XIV.; 
occupied by Louis XVI. and Marie Antoinette ; favorite retreat 
of Napoleon I. and III. Here was signed the capitulation of 
Paris, 1870. Palace entirely destroyed in the siege of 1870. 

Cluny, Hotel de. See Musee des Thermes. 

Coblenz (co'-blents '), Ger., pop. 30,000. The Rom. Conflu- 
entes, at the confluence of the Rhine and Moselle ; boasts a sit- 
uation unsurpassed by any of her sister villages along this ro- 
mantic stream. As a military position it is no less important. 
Founded B.C. 9, by Drusus. In the Thirty Years' War was be- 
sieged and captured by the Swedes, French, and Germans ; in 
1688, unsuccessfully attacked by the French ; was captured by 
them, 1794 ; in 1815 it became Prussian. It is strongly fortified 
of itself, but the great defences are the outworks of Petersberg, 
Karthause, and Ehrenbreitstein, across the Rhine. 

The Church of St. Castor, at the juncture of the two rivers, 
was founded by Louis I., 836 ; rebuilt, 1208 ; remodelled, 1498. 

In front of the church is a mon. erected by the French in 
1812, in honor of the campaign against Russia. Upon the re- 
treat of the French, the Russian general added to the inscrip- 
tion, " Seen and approved by the Russian Commandant of Co- 
blenz, Jan. 1, 1814." 

Near the fine * Moselle Bridge is the birthplace of Prince 
Metternich. The Palace, in the southern part of the town, 1778, 
is now occupied as a summer residence by the Queen of Prussia. 
See Route 20. 

Cos! i an Hill (see'-le-an), one of the " Seven Hills" of Rome ; 
to the s.e. of the Coliseum, extending from the Palatine to St. 
John Lateran. 

**Coliseum (kol-e-see'-um), Rome. Commenced A.D. 72, by 
Vespasian, who completed three tiers of seats ; dedicated by Ti- 
tus, A.D. 80, in a grand festival of 100 days, at which 5,000 beasts 
were slaughtered in the games. Was burned in 217; restored by 
Alex. Severus, 222. During the early persecution of Christians, 
many hundreds were here thrown to wild beasts. St. Ignatius 
was here martyred in the time of Trajan. Gladiatorial contests 
continued until abolished by Honorius, a.d. 405. 

In the Middle Ages it was used as a fortress, and soon after fell 
into decay, and for several centuries constituted the chief quarry 



COLO 85 

from which material was obtained for new buildings. The pal- 
aces de Venezia, Cancellaria, and Farnese were constructed chiefly 
from the Coliseum. About the year 1600, Pope Sixtus V. at- 
tempted to convert it into a woollen factory ; in 1700, Clement 
XI. into a saltpetre establishment ; but in 1750, Benedict XIV. 
consecrated it to the blood of the Martyrs who had perished there. 
Two-thirds of the original structure have been removed, and the 
*all of a considerable portion of the remnant has been prevented 
only by the timely erection of heavy buttresses. 

The circumference of the structure is about 1,900 ft. ; height, 
200 ft. The successive tiers of seats, receding from the arena to 
the summit, gave room for 90,000 spectators. Beneath the arena 
were apartments for the beasts, now being excavated. 

The view of the vast structure from the summit repays the 
ascent. Guide obtained at the r. on entering. 

A section of the lower tier of seats, called the Podium, was re- 
served for the Emperor, Senators, and the Vestal Virgins. The 
Emperor's seat was directly opposite the entrance, those of the 
senators being on his right, and those of the virgins on his 
left. 

The outer wall is of 4 stories, respectively Doric, Ionic, and the 
two upper, Corinthian. The holes in the stones, seen upon the 
outside, were caused by the removal of the iron clamps during 
the Middle Ages. 

The dimensions are variously given thus : Murray, diameters, 
584, 468 ; height, 157 ft. Baedeker, diameters, 658, 558 ; height, 
202 ft. Wood, diameters, 629£, 527£ ; height, 165 ft. 

Standing at the western or main entrance and looking toward 
the Forum, on the 1. is the Arch of Constantine, next the Pala- 
tine Hill; in front, the Meta Sudans, the pedestal of the Statue 
of Nero, and the Arch of Titus ; and directly in front, a portion 
of Hadrian's double temple of Venus and Rome. 

Cologne, Koln, Pruss., pop., 150,000. In a.d. 50, Agrip- 
pina, daughter of Germanicus, founded here a Roman colony, 
Colonia Agrippinensis. In 308, Constantine laid the foundation 
of a stone bridge across the Rhine, which remained nearly 6 cen- 
turies. Traces of the Roman city walls yet remain. The Prae- 
torium is supposed to have occupied the site of the present Town 
Hall. Trajan, Vitellius, and Sylvanus were here proclaimed 
Emperors; and Clovis, King of France. During the Middle Ages 
it was an important and flourishing town. It remained a free 



86 COLO 

city until the French took possession in 1794. Since 1815 it has 
been a part of Germany, and is now an important city. 

Principal objects of interest are the Cathedral, the churches of 
SS. Maria im Capitol, Gereon, Peter's, Ursula, and the Museum. 

**The Cathedral, celebrated as among the finest ecclesias- 
tical edifices of Europe; founded 1248 ; completed 1880. In 1795 
the French occupied it as a storehouse for hay. Since it passed 
into the possession of Germany, exceeding $2,000,000 have been 
expended in its restoration. The central tower (iron) was com- 
pleted in 1861. Its length is 450 ft. ; width, 201 ; height of nave, 
150 ; the s. tower is 511 ft. The bell, weighing 25 tons, was cast 
from cannon taken from the French, 1870. 

The Interior : in the chapel of the Magi are the bones of the 
Magi, brought from Constantinople by Empress Helena ; the Ag- 
nes chapel contains the *Dombild, a celebrated picture by Master 
Stephan, 1410 ; it is in compartments, and represents the Adora- 
tion of the Magi, St. Ursula, and the Annunciation. 

" In the choir, on the screen surrounding the stalls, are a number of wall-paint- 
ings. The proportions are good, the actions lively, the draperies in good taste, 
but the heads are still very conventional and of little expression. As they were 
doubtless executed in 1322, and as, from the circumstance of the choir being con- 
sidered the holiest place in the Cathedral, the best painters were probably chosen, 
we can have no better opportunity than these pictures afford us for forming con- 
clusions regarding the state of painting in that country.' 1 — Kugler. 

*The windows are among the finest specimens of stained glass 
work ; the five in the n. aisle, 1508 ; the new windows in the s. 
aisle, 1848. *A fine view of the cathedral is gained from the in- 
ner gallery of the choir, and one of the city from the outer gallery. 

Gereon, St. , Ch. op, upon the site of a church dedicated by 
Empress Helena, to the memory of 400 martyrs of the Theban 
legion, and their commanders, Gereon and Gregory, who were here 
martyred in the persecution by Diocletian. Tombstones, sarco- 
phagi and skulls abound in the walls and around the choir. 

Maria, St., im Capitol, ch., supposed to have been erected 
in the 7th cent., upon the site of the Rom. Capitol. Present 
structure of the ilth cent. The n. chapel contains an altarpiece, 
The Dying Mary, attributed to Albert Diirer. 

Peter's, St., ch., 1524, contains an altar-piece, the Crucifixion 
of Peter, by Rubens ; carried to Paris by Napoleon, and returned, 
1814. Fee 15 sgr. 

Museum, daily, 75pfg. Sun. and W., a.m., free. Roman and 
Mediaeval antiquities ; ancient and modern pictures. 



COLO 



87 




88 COLO 

Ursula, St. (ur-su-lah'), ch., 12th cent. ? containing the bones 
of St. Ursula and her 11,000 virgins, variously displayed in cases 
around the church. According to Professor Owen, many of the 
bones are those of lower orders of animals. See Ursula, St. 

Routes : To Bhussels, 6 hrs., $4.70 ; $3.40 ; see Route 19. To Berlin, 12 hrs., 
$11; $8.30. ToMayence, rly., 4 hrs., $3.75; $2.75; see Route 20; by Rhine 
steamer, 16 hrs., $1.90; see Route 20. To Pakis, 12 hours, $11.75; $9; see 
Route 19 to Brussels, thence Route 18. 

Col'-um-ba'-ri-um, a sepulchral chamber, the walls having 
niches for the reception of urns containing the ashes of the dead. 

Com'modus, L. Aurelius, son of Marcus Aurelius and 
Faustina the younger, A.D. 161. Came to the throne at the 
age of 20, and, although educated with the utmost care, proved 
" one of the most sanguinary and licentious tyrants that ever 
disgraced a throne.'* Reigned twelve years. Poisoned by one 
of his concubines whom he had resolved to put to death, and, 
when the poison seemed likely to fail, strangled by an athlete. 

Com'modus, Palace of. See Palatine Hill. 

Compiegne (kom'-pe-ain'), Fr* Clotaire died here, 562; 
Louis le Debonaire dethroned, 833 ; Carloman excommunicated, 
871 ; Louis le Begue crowned, 877 ; Louis V. died, 977. Palace 
founded by St. Louis, 1260 ; attacked by King of Navarre, 1364 ; 
Louis XVI. first met Marie Antoinette, 1770; Napoleon met Marie 
Louise, 1810 ; and, in 1833, King of Belgium married Louise, dau. 
of Louis Philippe. Joan of Arc captured, 1430. She was seized 
at the gateway, and coming into the custody of John of Luxem- 
bourg, was sold by him to the English, See Route 18, Note 12. 

** Concorde, Place de la (plas-deh-lah-cofi-cord), one of 
the most historic localities of Paris, and the most magnificent 
Place in the world. To the e. are the Gardens and Palace of the 
Tuileries ; to the w., Champs ftlysees and the Arc de Triomphe; 
to the s., the Seine and Corps Legislatif ; to the n., the Ministere 
de Marine and the Madeleine. 

In 1763, a statue of Louis XV. was erected here, in what had 
hitherto been waste ground. In 1770, on the celebration of the 
marriage of Louis XVI. and Marie Antoinette, an accidental dis- 
charge of fireworks created a panic among the crowds such that 
not less than 1,200 persons were killed and 2,000 injured, by be- 
ing trampled upon or thrown into the ditches by which the Place 
was then surrounded. In 1792 the statue of the king was, by 



CONC 



89 



order of the Convention, destroyed, and the Place was named 
Place de la Revolution. 

In 1793, the guillotine, which had been erected in Place de 
Greve (PI. de 1' Hotel de Ville), was removed to this place ; the 
scaffold was about midway between the obelisk and the horses of 



Navy Dept. 



Rue de Rivoli, 






Champa 
Ely sees. 



iy 



□ 



^ 



The Seine 



o ►d 



-The Seine 



Coustou, to the west. Its first victim here was, Jan. 21, 1793, 
King Louis XVI. ; July 17, Charlotte Corday ; Oct. 2, Brissot; 
Oct. 18, Marie Antoinette; Nov. 14, Louis Philippe, father of 
King Louis Philippe. Soon after followed Danton, Robespierre, 
St. Just, Desmoulins, and other leaders of the government, till 
the victims had numbered nearly 3,000. 

The Place was named, in 1799, Place de la Concorde ; in 1814, 
Place de Louis XV. ; in 1826, Place de Louis XVI. ; in 1830, 
Place de la Concorde. With a view to relieve the place from its 



90 CONR 

odious memories, it was resolved to erect a mon. having no poli- 
tical significance. Hence the erection, in 1836, of *The Obelisk 
of Luxor, from Egypt, presented by the Pasha Mehemet Ali to 
Louis Philippe. The mon. (a) consists of a monolith 76 ft. high, 
standing upon a pedestal 13 ft. high, which, with 3 ft. as a sub- 
base, gives an entire height 92 ft. The obelisk is covered with 
three rows of clear-cut hieroglyphics, and is regarded as one of 
the most perfect and beautiful ever designed. The inscriptions 
on the shaft refer to Rameses II. of Egypt (Sesostris), B.C. 1500. 
On the base are extensive inscriptions relative to the removal of 
the obelisk and its erection in this place, which occupied 3 years 
and cost 2,000,000 fr. 

The Fountains. On either side of the obelisk is a fine bronze 
(5) fountain, consisting each of two basins. The lower basins are 
53 ft. in diameter, from which water is spouted into the smaller 
basins above by dolphins held by Nereids. The figures in the n. 
fountain represent Fruit, Flowers, Wine, and Corn ; in the s. the 
Pacific, the Mediterranean, and the Genii of Fishery. 

Surrounding the Place are 8 statues emblematic of 8 of the prin- 
cipal French cities : Lille (1), Strasbourg (now usually decorated 
with immortelles), Bordeaux, Nantes, Rouen, Brest, Lyons, and 
Marseilles (8). On the w. , on either side of the Avenue des Champs 
Elysees, is a fine group of Horse Tamers, by Coustou (c). Oppo- 
site, at the garden entrance, are similar groups by Coysevox (d). 

After the defeat of Napoleon I., the Russian (1814) and Eng- 
lish (1815) troops were encamped here ; and after the defeat of 
Napoleon ILL, 1871, the Prussians again made here their bivouac. 
This place was also the theatre of one of the most desperate 
struggles of the Communists and the government, 1871. 

Conrad, Legend of. 

Heinrich and Conrad, sons of the Knight of Leibenstein, were both enamored of 
Hildegarde. Conrad being preferred by her, Heinrich, to forget his disappoint- 
ment, went to the Holy Wars. A new castle was built for them against the day 
of their marriage. The death of the father postponed the nuptials twelve months, 
during which time Conrad had neglected Hildegarde, and finally gone to Palestine. 
At Constantinople he became enamored of a beautiful Greek lady, married her, 
and returned to Sternberg, the newly finished castle, not even calling upon the 
abandoned Hildegarde. Heinrich, hearing of his brother's perfidy, hastened home, 
and challenged him to mortal strife. In the midst of the combat Hildegarde 
rushed between them and implored them to desist. They were reconciled, and 
the same day Hildegarde entered a convent. Not long after Conrad's wife left 
him, and fled with another knight. 

Conservatoire des Arts et Metiers (con-serv-a-twahr), 



CONS 91 

Paris, No. 292 Rue St. Martin. Daily, 10-4, 1 fr.; Sun., Tu., 
Th., free. Entrance in the court. This extensive collection con- 
sists of models of all modern appliances in the useful arts. It is 
divided into 24 sections, in each of which there is a display of 
implements and machinery pertaining to some special depart- 
ment of the mechanic arts. 

Conservators, Palace of the. See Part II., Palace of 
The Conservators. P. 463. 

Constance, Switz., on Lake Constance; pop. about 10,000. 
The Cathedral, founded 1048, was rebuilt near the close of the 
16th cent. ; the tower, 1850. The celebrated Council which con- 
demned Huss to be burned at the stake was held here, 1415. 
The place where Huss stood when sentenced is indicated by a 
slab with a white spot, in the pavement, about sixteen steps 
from the principal entrance. The place of execution of Huss 
and Jerome, in a field to the n. of the suburb of Bruhl, is desig- 
nated by a mass of rock with inscriptions. 

The Lake of Constance is 42 mis. in length, and 8 wide. 
Scenery fine, though less attractive than that of other Swiss 
lakes. Shores on the n. low and flat, on the s. hilly and wooded. 

Con Stan tine, Rom. Emp. a.d. 306-337, son of Const. 
Chlorus and Helena, a. d. 272, said to have been born at York, 
England. On his march to Rome, either at Autun, or Andernach, 
or Verona, or Mayence, he is said to have seen a luminous cross, 
with the inscription u Conquer by this y" from which circum- 
stance he became a Christian, being the first Emperor who em- 
braced the new faith. By the defeat of Maxentius and Licinius, 
he became sole master of the empire, and removed the seat of 
government from Rome to Byzantium, calling it Constantinople. 
Died, 330, leaving the empire to his three sons, Constantine, Con- 
stantius, and Constans. 

**Constantine, Arch of, Borne, near the Coliseum. 
Erected by Constantine, a.d. 311, in commemoration of his 
victory over Maxentius. So large a part of the material of this 
arch is taken from an arch of Trajan as to have led to the query 
whether this is not one of Trajan's, remodelled by Constantine. 

Facing the Coliseum, the reliefs represent : 1. Trajan's tri- 
umphal entry to Rome ; 2, Trajan restores the Appian Way ; 3, 
Trajan distributes food; 4, Trajan on Chair of State. South 
side: 1, Trajan crowning King of Parthia; 2, Trajan discovers 
the Dacian conspiracy ; 3, Trajan addressing soldiers ; 4, Trajan 



92 CONS 

sacrificing. The 8 statues on the architrave are also of Trajan's 
time. 

The reliefs encircling the arch midway, the 2 medallions, Fame, 
over the arch, and the reliefs inside the main arch and on the 
pedestals, all relate to Constantine, and well illustrate the degen- 
eracy of art from Trajan to Constantine. 

" Seen from a short distance, and taken as a whole, it presents the appearance 
of a grand work of art and architecture ; but, examined in detail, it is found to be 
a remarkable piece of architectural patchwork." — Wood. 

" The reliefs, which belong to the age of Constantine, come down to us in all 
their stiff ugliness, lifeless and spiritless, showing no knowledge of the human 
body, and being even at times barbaric in their crudeness." — Liibke. 

"Constantine had taken from the Triumphal Arch of Trajan all the statues of 
the Dacian prisoners and placed them on the summit of his own. This robbery- 
was punished in the 16th cent. ; for Lorenzo, the whimsical assassin of Alex, de 
Medici, decapitated every statue which surmounted the Arch of Constantine, 
except one." — AmpSre. 

Constantine, Basilica of, at the e. end of the Forum, 
Home ; commenced by Maxentius and completed by Constantine, 
upon the site and from the ruins of Vespasian's temple of Peace. 
It was about 320 ft. long, 235 wide, and consisted of a nave and 2 
side aisles, each covered by an immense arch of 80 ft. span. These 
arches, portions of which yet remain, have served as models for 
modern architects. The early Christian churches are believed to 
have been constructed in imitation of this basilica. Tne only 
column remaining from this building was removed to the Piazza 
St. M. Maggiore, and is now surmounted by the figure of the Vir- 
gin. 

Constantine, Baths of, Rome, on the Quirinal, a.d. 326. 
What remained of these structures in the 16th cent, was taken 
for the construction of the Rospigliosi Palace by Paul V. Among 
the antique statuary found here are the Nile and Tiber of the 
Capitol, and the Horses now in front of the Quirinal. 

Copenhagen, with a population of about 220,000, presents 
comparatively little of interest for a European capital. 

In the central part of the city is a large open space, designated 
the Kongens Nytorv, or King's New Market, upon the west side 
of which will be found the most desirable hotels ; on the s. side 
is the Military High School. A short distance north is the Ama- 
lienborg, a square, around which are the palaces of the king, the 
queen dowager, the crown-prince, and the minister for foreign 
affairs. In the centre is a statue of Fred. V. 



COPE 



93 



About the same distance s. of Kongens Nytorv is the Stats 
Plasden, with the Royal Library and palace of Christiansborg. 

The Principal Places of Interest are the Thorwaldsen Museum, 
the Fruekirke, the Picture Gallery, the Tivoli Gardens, and the 
Museum of Northern Antiquities. 

** The Thorwaldsen Museum; Sun., Tu., Th., Sat., hours 
variable ; directly adjacent to Christiansborg ; on the west is a rec- 
tangular building enclosing a court, within which the great sculp- 




tor is buried. The building contains in the 42 rooms, either the 
originals or casts of nearly all the works of Thorwaldsen, together 
with a small number of antiquities and other objects of interest. 

*The Fruekirke, or Notre Dame, is noted for the sculptures 
of Christ, the Twelve Apostles, and the Kneeling Angel. These 
were designed and partly executed by Thorwaldsen. 

The Museum op Northern Antiquities ; Sun., Tu., Th., 
Sat., hours variable ; in the Prindsens Pal., Christiansborg, is re- 



94 com 

garded as the best collection of Scandinavian relics extant. It ia 
divided into the Heathen and the Christian Departments. There 
is also a section of American Antiquities. 

In connection with this is the Ethnographical Museum ; Sun. , 
M., W., F., containing weapons, ornaments, and clothing, par- 
ticularly from Greenland. 

The Picture Gallery ; Sun., W., Th., F., Sat., 12-2; in the 
Christiansborg, comprises several hundred pictures, including a 
number by the great masters. 

On the s. margin of the city are the Tivoli Gardens, the most 
popular place of amusement, the evening exhibitions being at- 
tended by thousands, and offering a surprising amount of enter 
tainment for the cost. 

Routes: To London, by steamer direct, weekly, $12 ; or by rail to Hamburg, 
thence by steamer, $15; or by rail to Rotterdam, thence by steamer, $24 ; $18 , 
time, 2 to 3 days. 

To Hamburg, by steamer to Lubeck, thence by rail to Hamburg, 18 hrs., $5 ; 
or by rail to Corsoer, 4 hrs., thence by steamer to Keil, 6 hrs., thence by rail to 
Hamburg, 3 hrs., $5. 

To Stockholm, by steamer, 1 hr., to Malmo, thence by rail, 17 hrs., $11 ; $8. 
Fast train usually at night only. Cars uncomfortable. 

Corinthian Style. See Architecture. 

Cork (a marsh), Ireland; pop. about 100,000; 12 mis. from 
Queenstown, by rail or boat. Blarney Castle is 5 mis. dist. by 
jaunting car. To the Lakes of Killarney, 3 hrs. by rly. ; to Dub- 
lin, 186 mis., 8 hrs. by rly. See Route 1. 

Corps Legislatif, Palais du, Paris, now designated 
Chambre des Deputes, s. bank of the Seine, opposite Place de la 
Concorde. Erected, 1722, for the dowager Duchess of Bourbon ; 
enlarged by the Prince de Conde. In 1795 it was the place of meet- 
ing of the Council of Five Hundred, and afterward of the Chamber 
of Deputies. In 1848 the Duchess of Orleans here presented her 
two sons, Count de Paris and Duke de Chartres, before the Na- 
tional Assembly, in the endeavor to obtain the throne. The same 
year the Assembly was expelled by a mob. Principal entrance 
on Rue de l'Universite. In front, statue of Law, by Feucheres, 
1855. Entrance from the Seine ; on the platform, statues of 
d'Aguesseau, Colbert, l'Hopital and Sully, Justice and Prudence ; 
above the colonnade, France assuring Liberty and Public Order, 
and calling to her aid Agriculture, Commerce, and The Arts. 

Correggio, Antonio da, Allegri, 1494-1534, b. at Cor- 
reggio, Italy. But little is known with certainty of his early 



CORR 



95 



life or under what masters he received instruction. It is believed 
he was a pupil of Francisco de Bianchi and perhaps of Ant. Bar- 
toletti. His first known work is the Madonna and St. Francis in 
the Dresden Gall., 1514. He was engaged five years on the cu- 
pola of San Giovanni, in Parma, where he first revealed his un- 
equalled mastery of chiaroscu- 
ro. Dresden possesses several 
of his masterpieces, but Parma 
has in its Museum and churches 
his finest works. 

The statements of Vasari as 
to the poverty of Correggio are 
now generally discredited. 

' i No painter of any age has equalled 
him in chiaroscuro, and none but Raph- 
ael can compete •with him in simple 
sweetness and loveliness. He was par- 
ticularly happy in his delineations of 
sportive, smiling children. 

" His life and character had the gen- 
tleness and suavity, but not the anima- 
tion of his pictures. He was mild and 
unassuming, and did not realize his own 
superiority." — Radcliffe. Correggio. 

" Whoever looks upon his forms read- 
ily perceives that they belong to a different sphere from those of the other great 
masters. His Madonnas and Magdalens exhibit the same genre-like style of face, 
the same dewy, melting, tenderly languishing eyes, the same small nose, and the 
same over-delicate, smiling mouth as his Danae, his Leda, or his lo. He loves to 
portray the rapture of passionate devotion, but the expression is the same whether 
he paints heavenly or earthly love. Yet, though he knows how to paint most per- 
fectly the transports of human passion, and to make soft and swelling limbs seem 
trembling in a paroxysm of ecstasy, nevertheless, with few exceptions, his tone 
remains pure, clear, and true ; and hence, from his point of view, he does not 
demean his saintly personages when he portrays them as alive to these same emo- 
tions. He transports them all back into the state of paiadisaic innocence, and 
herein lies the justification of his work. 

" But his peculiar means of expression is a light, which, softly blended with 
the twilight, and interwoven with delicate reflections and transparent shadows, 
plays around his forms like an electric fluid, as though with the breath of some 
delightful sensation. In producing this chiaroscuro, with its minutest grada- 
tions and shadings, Correggio is one of the foremost masters of painting. He it 
was that discovered, and brought to a wonderful degree of perfection, this new 
medium by which bodies half concealed and half unveiled appear only all the 
more attractive, all the more fascinating." — Lubke. 

" No painter has caught the frolicsome grace of children more completely than 
Correggio. His children are not cherubs that have lost their way, but the most 




96 



CORS 



engaging creatures that ever romped upon a nursery floor, with dimpled cheeky 
and roguish eyes that seem equally loving and mischievous. No artist was ever 

born with a more exquisite 
organization or a spirit 
more sensitive to the touch 
of beauty. " — Billard. 

" In his compositions all 
is life and motion. His fig- 
ures express the overflowing 
consciousness of life, the 
impulses of love and pleas- 
ure. He delights to repre- 
sent the buoyant glee of 
childhood, the bliss of 
earthly, the fervor of heav- 
enly love. Seldom does sor- 
row intrude into his world 
of joy." — Kugler. 

Pkinc ip At Works: Bclv., 
six; Berlin, 216,218; Borgh., 
40; Doria, 69; Dreed., 151, 
152-3-4-5-6 ; Hermit., 81, 82 
A ; Louvre, 19, 20; Madrid, 
132 ; Modena, 60 ; Naples, 
3, 7, 9; Nat. Gall., 10, 15, 
23, 76; Parma, 31, 35, 351- 
2-3; Pesth, IV. 178, VI. 219; 
Urn., 1118, 1134; Verona, 93. 

Corsini Palace. See Part II., Corsini. P. 434. 

Corso, The (coarse'-o). The principal street of Rome, ex- 
tending from the Piazza del Popolo, at the extreme north of the 
city, 1 ml., to the Pi. di Venezia, at the foot of the Capitoline 
Hill. In the northern part it follows the ancient Via Flaminia ; 
nearer the Capitol, the Via Lata. 

Cortona, Pietro Berettini da, 1596-1669, b. at Cortona, 
Italy. A painter of great talent, but for a time regarded as 
superficial and mechanical. 

" He contented himself with dazzling and superficial effects, with contrasts of 
masses, florid coloring and violent lights/' — Kugler. 

Cote cT Or (koat-door), Fr., a range of hills extending from 
Dijon to Chalon-sur-Saone, producing the finest Burgundy wines. 
See Route 39, Note 17. 

Cranach, Lucas, Eld. (Kran'ach), 1472-1553, b. at Kran- 
ach, Ger. Subjects were religious and genre, sometimes histori- 
cal. In coloring and execution he attained considerable excel- 
lence, but his drawing was faulty, giving his figures often an 




Madonna — Correggio, Dresden. 



CRED 07 

awkward stiffness. " In some instances he attained to the ex- 
pression of dignity, earnestness, and feeling, but generally his 
characteristics are a naive and childlike cheerfulness and a gentle 
and almost timid grace." 

Credi, Lorenzo di (cray'-dee), 1459-1537, b. at Florence; 
studied with da Vinci under Verrocchio. His subjects were re- 
ligious, succeeding best with Madonnas and Holy Families. His 
expression is good, but his coloring is cold and the execution 
monotonous. He copied da Vinci with great success. Six of his 
pictures are in Florence and three in the Louvre. 

Crivelli, Carlo, 1430?-1495?, b. at Venice, but painted 
principally at Ascoli. His pictures indicate grandeur and sever- 
ity, rather than grace. He decorated his works with garlands of 
flowers, which, however, were wanting in beauty. His works are 
principally in distemper. The Nat. Gall, possesses some of his 
best. 

**Croce, Santa, ch. (san'-tah cro'-chay), Florence. 

The Piazza 8. Croce is intimately associated with the history of 
Florence, as, for many years, it was the place of popular assem- 
blage for consideration of important public measures. In the 
centre is *The Statue of Dante, 19 ft. high, standing upon a ped- 
estal of 23 ft.; erected 1865, May 14, the 600th anniversary of his 
birth. Beneath are the arms of various Italian cities. 

The Church of S. Croce was designed by Arnolfo, 1295, re- 
stored in the 16th century ; the bell- tower added 1847, and the 
facade completed 1863. Over the principal entrance is a * bas- 
relief of the Elevation of the Cross, by Dupre. 

" Santa Croce is a church, of the thirteenth century, modernized in the six- 
teenth, half Gothic, half classic, austere at first, and afterward decorated, which 
incongruities prevent it from being either beautiful or striking." — Taine. 

The Interior. Its extended spaces, the limited number of 
columns, and the numerous monuments, give to this Westminster 
Abbey of Florence a very pleasing effect. Over the main en- 
trance is a bronze statue by Donatello. 

8. Aisle, mon. to Manin (entombed at Venice). **Tomb of 
Michael Angelo, bust, by Lorenzi ; below are : Painting by 
Lorenzi, Sculpture by Cioli, and Architecture by dell'Opera ; 
the altar painting by Vasari ; Mon. to Dante (entombed at 
Ravenna), by Ricci, 1829 ; Alfieri, by Canova ; *Marble pulpit 
to the 1., by Majano ; Macchiavelli, by Spinazzi, 1787; Lanzi, 
Bruni (Aretino), and Micheli. 
7 



98 CROC 

S. Transept. At the corner, mon. to Corsini. Chapel of the 
Castellani : 1st on r. with frescos of St. Nicholas and John Bap., 
by Ag. Gaddi ; over the altar a crucifix, by Giotto ; 1.,* tomb of 
the Countess of Albany, by Giovannozzi ; Baroncelli Chapel : fres- 
cos by T. Gaddi; over the altar Pieta, by Bandinelli; ** altar- 
piece, Coronation of the Virgin, by Giotto ; r., Statue of Madon- 
na, by Vincenzo Perugino. (The door adjacent leads to the 
sacristy, cloisters, etc.) To 1. : 1st Chapel, * frescos by da Gio- 
vanni. 2d Chapel : Finding of the Cross, by Biliverti. 3d, Buo- 
naparte Chapel: r., Julia; 1., Carlotta. 4th, Peruzzi Chapel: 
**frescos, r., John Bap.; 1., St. John, by Giotto; God, Madonna, 
St. Roch, St. Sebastian, by del Sarto. 5th, Bardi Chapel : 
*frescos of life of St. Francis, by Giotto ; altar-piece by Cimabue 
(?) or Margaritone. 

The Choir. Frescos of the Finding of the Cross, by Ag. Gad- 
di ; the high altar from designs by Vasari. 

JV. Transept. Mon. to Princess Sophia Czartoryska and Cher- 
ubini, the composer. 

N. Aisle. Tomb of R. Morghen, the engraver; Alberti, the 
architect ; * Carlo Marzuppini, by da Settignano ; * Galileo. 

The Cloisters, entered from the Piazza, 1. of the church on 
leaving, contain many monuments and other objects of interest. 
The tribunal of the Inquisition formerly held its sittings in the 
old refectory. 

Croce in Gerusalemme, S. (cro'-chay), Basilica, Rome, 
near Porta Maggiore, s. e. extremity of the city. Said to have 
been founded by Empress Helena, 331, in the Garden of the Pal- 
ace, in commemoration of her finding the true cross at Jerusalem. 
Rebuilt, 1144; entirely reconstructed, 1744. In the tribune are 
frescos of the Finding of the True Cross, by Pinturicchio (?). 
Beneath is the Chapel op Sta. Helena, the floor of which is 
said to be formed of earth brought from Jerusalem. Ladies are 
forbidden to enter this chapel, except on the anniversary of its 
dedication, March 20. The statue of St. Helena on the altar is a 
copy of the Juno in the Sala Rotonda of the Vatican. 

**Crystal Palace, London. This building, originally 
erected in Hyde Park, is now situated in Sydenham (sid'-en-um), 
six miles south from London Bridge. Trains from Victoria, 
London Bridge, Ludgate Hill, and Blackheath Hill, about every 
15 min. Admission daily, 1 sh.; Sat. 2/6. The building, with its 
contents and grounds, cost $8,000,000. The extensive grounds 



CUST 99 

of the Palace are ornamented with statues and fountains, and 
laid out in the highest style of English horticultural gardening, 
united with that of the Italian. 

Upon the eastern side is a grand terrace, 1,576 ft. in length, 
below which are fountains, ornamental trees, statues, and bril- 
liant parterres of flowers. Among the statues are 24 colossal 
allegorical figures representing the great commercial countries of 
the globe. Farther below are the Aviary, the Monkey House, 
the Palm House, the Orangery, the Circular Fountain, surrounded 
by sculptures, both modern and antique, the Valley of Rhodo- 
dendrons, the Archery Ground, the Cricket Ground, and the Geo- 
logical Illustrations. These last consist of a series of restorations, 
reproducing in scenery and animal life the conditions and forms 
of the early geologic times. 

Within the Palace is an endless collection of objects, principally 
copies of works of art and architecture, masterpieces of all coun- 
tries and times, reproduced with great exactitude. 

The collection is of great value as an introduction for those in- 
tending to visit Central and Southern Europe, and hardly less 
desirable as a review to those having returned. Of especial inter- 
est are the Egyptian, the Greek, the Roman, the Alhambra, and 
the Pompeian Courts. Descriptive Catalogues, 1 sh. 

Cupid, Eros of the Greeks, the son of Mars and Venus; 
represented as a wanton boy (frequently as of sixteen years of 
age), from whose tricks and sports neither gods nor men were 
safe. Was enamored of and married Psyche. 

Stattjes : Alb. Villa, 915 ; Berlin, 46-7, 157-9, 210, 1,032 ; Br. Mu., 143-5-6 ; 
Cap., VI. *13 ; Louvre, 325 ; Vat. (Chi.) 495, Cupid of the Vatican ; (P. C.) 250, 
Genius of the Vatican. See Eros. 

TnE Bow-Bending Cupid, Vat. (Chi. ) 495, is a life size of a 
Greek original ; one of the best copies extant ; found at the 
Lateran. The original was formerly supposed to be by Lysippus, 
but the arrangement of the hair is now believed to indicate a 
later age. 

Custom House Duties. U. S. 

Alabaster, 10 pr. ct. ; Antiquities, not for sale, free ; bonnets, 
30 pr. ct. ; books, 25 pr. ct.; of one's trade or profession free, in 
use abroad one year, free ; bronzes, all or part, 45 pr. ct. ; brandy, 
$2.00 pr. gal.; bay rum, $1.00 pr. gal.; carpets, 50 to 100 pr. ct. ; 
carved wood, 35 pr. ct. ; champagne, $2.33 pr. gal. ; china and 
porcelain, 50 pr. ct. ; decorated, 60 pr. ct. ; clocks, 30 pr. ct. ; 
clothing in actual use, free ; silk, 50 pr. ct. ; woollen, 35 to 50 pr. 



100 CUYP 

ct. ; cotton, 30 to 40 pr. ct. ; cologne, $2.00 and upward, pr. gal.; 
dolls and toys, 35 pr. ct. ; down and feathers, free ; engravings, 
25 pr. ct. ; fur, articles of, 30 pr. ct. ; gloves, 50 pr. ct.; glass, 45 
pr. ct.; German silver, albata, etc., 25 pr. ct. ; jewelry, 25 pr. ct.; 
[ace, silk, 50 pr. ct. ; leather goods, 30 pr. ct. ; linen, 35 pr. ct.; 
marble, works of , 10 to 30 pr. ct.; musical inst., 25 pr. ct.; paint- 
ings, 30 pr. ct. ; work of Amer. artist, free ; paints, oil or water, 
25 pr. ct.; photographs, 15 pr. ct.; statuary, 10 to 30 pr. ct. ; work 
of Amer. artist, free ; silks in piece, shawls, or silk velvet, 50 pr. 
ct.; watches, 25 pr. ct. 

Washington, D. C, July 29, 1878. 
To Collectors of Customs and Others : 

The attention of the department has been invited to the fact that tourists an« 
other persons visiting foreign countries return to the United States with articles 
subject to duty. 

Such tourists are often under the erroneous impression that all articles pur- 
chased for their personal use, or for the use of friends, or intended as presents, are 
exempt from duty. 

Persons who arrive in the United States will be required to make due entry on 
blanks to be furnished them by the proper customs officer of the articles believed 
to be entitled to free admission under the provisions of the law above referred to, 
and to make oath that the entry contains a just and true account of the contents 
of the package or packages mentioned therein, and that no such packages contain 
any mei - chandise whatever other than the articles specified. 

A s-eparate entry must be made of all dutiable articles contained in the baggage, 
to which the oath of the passenger must also be annexed. Such entry must spe- 
cify the name of the article, the precise quantity thereof, and the exact cost of 
foreign market value. 

"Whenever anything subject to duty is found in the baggage of any person 
arriving within the United States, which was not at the time of making entry 
mentioned to the collector, such article shall be forfeited and the person in whose 
baggage it is found shall be liable to a penalty of treble the value of such 
article." 

Wearing apparel in actual use and other personal effects (not merchandise), 
professional books, implements, instruments and tools of trade, in occupation or 
employment of persons arriving in the United States, are admitted free. 

Cuyp, Albert (koip), 1605-1691, b. at Dort, Hoi. He is 
noted especially for his landscapes, although his cattle and his 
interiors hold equally the highest rank. He also painted fruit 
and dead game, but with less success. As a painter of landscape 
he has been termed the " Dutch Claude." His favorite scene is 
a landscape with cattle reposing on the banks of a river ; some- 
times with horsemen. In the management of sunshine and light, 
from the cool freshness of morning to the hazy sunset, he has 
been surpassed by Claude alone. 

His pictures were first appreciated by the English, who, before 



DANA 101 

the Dutch had awakened to their value, had taken a large pro- 
portion of them to England. His works number about 350. 

/Principal Works: Axast. Hoop, 29, 30 ; Berlin, 861, 861 B ; Dresd., 2,355, 
2;427 ; Dal., 9. 83, 163, 141, 145, 239, 241 ; Frank., 166 ; Hague, 21 ; Hermit., 110- 
1-2-4-5-6-7; Louvre, 104, 105-6-7-8 ; Munich, 1,004,1,035; IS at. Gall., 53, 823- 
4, 960-1 ; Pesth, XV. 585, 58!); Rijks, 77, 78, 80, *81 ; Rotterdam, 40-1-2-3-4-5- 
6-7. 

Danae, myth, dau. of the king of Argos, by whom she was 
imprisoned in a brazen tower. Being beloved by Jupiter, he en- 
tered her chamber as a shower of gold, and Danae bore him a son, 
Perseus. 

*Paintlng by Correggio; in the Borghese Palace, Rome. 

Dance of Death, a favorite subject with the painters of the 
middle ages, the earliest dating from the 4th .cent. One of the 
best known is by Hans Holbein. The most celebrated in England 
was painted around the cloister of old St. Paul's, in the reign of 
Henry VI. There were also painted Dances of Death at Amiens, 
Basle, Dresden, Lucerne, Minden, etc. At Rouen, in the ceme- 
tery of St. Maclou, is a Dance of Death sculptured in relief on the 
pillars of the great cloister which surrounded the enclosure. At 
Lucerne, in the 4th bridge across the Reuss, is a series of paint- 
ings representing the Dance of Death, by Meglenger. 

Danes, The, in EngSand. From 827 the Danes made 
frequent piratical expeditions into England for nearly two centu- 
ries, when Sweyn, king of Denmark, came, 1013, with an army 
and assumed the government of England. They were expelled 
by Edward the Confessor, 1041. 

Dannecker, Johann Hem rich, b. near Stuttgart, &er., 
1758, d. Stuttgart, 1841. The son of a groom, he spent his early 
years assisting his father at the stable. At 15 he was placed 
under the instruction of Grubel, a sculptor of Stuttgart. 

After some time, with a small allowance from the Duke, he 
set out on foot for Paris, and two years later, set forth again 
on foot for Rome. Here, after many discouragements, he met 
Goethe and Canova, who rendered him essential aid. Remain- 
ing five years, he was recalled by the Duke to Stuttgart, where 
he married and resided during life. 

His works, which are not numerous, are principally single fig- 
ures wrought with great grace and beauty. His most noted 
works are a bust of Schiller in Stuttgart, Ariadne in Frankfort, a 
Christ in St. Petersburg, and a replica in Ratisbon. See Ariadne. 



102 DANT 

Dante, Align ieri, b. 1265, Florence. Banished from his 
native place, he resided many years in various cities of Italy, and 
died in Ravenna, where he is entombed in the ch. of S. Francesco. 

A mon. was erected to him in the ch. of S. Croce, Florence, 
and a statue in the Piazza ; see S. Croce. In the Museo Nazio- 
nale, IV. Saloon, is Giotto's celebrated portrait of Dante, much 
injured by whitewashing ; see Giotto. His house is No. 2 Yia S. 
Martino, Florence, recently restored. 

Darmstadt (darni-staht), Ger., the capital of the Grand 
Duchy of Hesse, pop. 45,000. The Schloss— middle of the 18th 
cent. — contains a Picture Gallery in which are many works of 
high merit, especially of the Dutch and Flemish Schools. In the 
Palace of Pr. Charles is the Madonna of Holbein, which is now 
believed to be the original of which the celebrated Holbein Ma- 
donna of Dresden is a copy or replica. See Part II., Dresden. 

Darn ley, Lord, Scot., second husband, 1565, of Mary, Queen 
of Scots; a vain fop, fond of nothing but hunting and feasting, 
who, becoming jealous of Rizzio, an Italian, the Queen's private 
secretary, took possession of Holyrood Palace with a band of 
armed men, led the way to the Queen's apartments, and caused 
the assassination of Rizzio in her presence. The Queen now con- 
templated a divorce, but Darnley falling ill, she attended him 
with great assiduity. One night, however, the house was ex- 
ploded with gunpowder, and the body of Darnley was found near 
'by, lifeless, 1567. 

David, Jacques-Louis, Fr., 1748-1825. He was consid- 
ered the first master of modern art at the close of the 18th cent. 
His themes were largely Greek. Among his later works were 
The Sabines, in the Louvre ; and two ordered by Napoleon. The 
Coronation, and the Distribution of the Eagles, now at Versailles. 
In The Sabines the figures have a statuesque pose; but The Cor- 
onation is among the finest of modern paintings. 

" His style somewhat resembles that of Jlaphael Mengs, and his early works be- 
tray the declamatory element, and a lifeless imitation of the antique. His Ho- 
ratii and Curiatii, his Brutus, and the Sabine Women, now possess little more 
than historical interest." 

Da Vinci. See Vinci, da. 

Day and Night, Dawn and Evening. Sculptures by An- 
gelo. See Medicean Chapel. 

Delaroche, Paul (d'lah'-roash'), 1797-1856, b. at Paris; 
married the dau. of Horace Vernet. He was one of the bes$ 



DEMO 103 

masters that the French school has produced, and it has been ob- 
served that the long-lived popularity of historic painting in France 
is mainly due to his works. As a colorist he has rarely been ex- 
celled. He expresses the individuality of his subjects with a 
master hand, and with the greatest delicacy of touch ; but was 
less fortunate in the management of his grouping. One of his 
most noted works is the Hemicycle in the Ecole d<_s Beaux Arts, 
Paris. 

Demosthenes, Statues of: Berlin, 98,765; Br. Mu., 
55-6; Cap., IV. 81; Glyp., 149; Louvre,* (— ) ; Naples, 575 
(327) ; Torlo., 30; Vat., 62, 422, 505. 

Denis, St. (san'-deh-nee'), Paris, 2 mis. beyond the walls; 
from the Gare du Nord, by railway, every half hour ; by tram- 
way every 20 min. from Boulevard Haussman, from Gare £t. 
Lazare and Place de la Chapelle. The tramways land passengers 
quite near the Cathedral ; the rly. f ml. distant. 

**The Abbe?/ Church of St. Denis, for centuries the place of en- 
tombment of French Royalty, was first erected A.D. 250, in honor 
of St. Denis, first bishop of Paris. It was rebuilt 630, by Dago- 
bert I.; by Charlemagne in 775 ; by Suger in 1144 ; by St. Louis, 
1234. 

During the revolution of 1789 it was desecrated and converted 
into a salt magazine, and its entire demolition contemplated. 
Soon after, it was decreed that the royal tombs should be de- 
stroyed, in obedience to which the tombs and monuments were, 
in Oct., 1793, wholly demolished, the ashes being thrown into 
the fosses communes of a neighboring cemetery. 

In 1806, Napoleon restored the church and decreed his own 
burial there ; in 1817, Louis XVIII. caused the remains of Louis 
XVI. and Marie Antoinette to be removed from the Madeline 
cemetery to St. Denis. 

In 1859, upon the decree establishing St. Denis as the burial 
place of the Emperors, as well as the Kings of France, the church 
was fully restored in the style of the 13th cent. 

Among the mons. of greatest interest are those of Fredegonde, 

Dagobert, Pepin, Charlemagne, Clovis II., Charles Martel, Henry 

II., Cath. de Medicis, Francis I., Louis XVI., Marie Antoinette, 

Henry IV., Louis XII. , and Louis XIV. 

" Of the 167 sepulchral monuments, 52 only are genuine ; 53 are new or made 
up ; the rest were brought from other churches." 

Here Joan of Arc hung up her arms, 1429 ; Henry rV. made 



104 DENI 

his recantation of Protestantism, 1593 ; and Napoleon I. married 
Marie Louise, 1810. 

The windows are modern, with the exception of one in the 
Chapel of the Virgin which represents the genealogy of Christ. 

The Treasury, which formerly contained articles of great value, 
now possesses only modern copies. 

The Sacristy is decorated with several modern paintings. 

Admission to the tombs every half hour during the day except 
in time of service ; 1 f r. As visitors are accompanied by an at- 
tendant who points out each of the tombs and other objects of 
interest, a detailed catalogue is rendered unnecessary. 

Denis, St. (san-deh nee), Triumphal Arch of Porte, 
Paris. Intersection of Boulevard St. Denis and Rue St. Denis. 
Erected 1670, in honor of the campaign of Louis XIV. along the 
Rhine; 81 ft. high, 82 wide; inscribed " Ludovico Magno." 
Above the archway, bas-relief of the Passage of the Rhine, 1052. 
At this and at Porte St. Martin were obstinate revolutionary en- 
gagements, 1830 and 1848 ; and with the Communists, 1871, of 
which the bullet marks are yet visible upon the stone-work. 

Denner, Balthasar, Hamburg, 1685-1747. Favorite sub- 
jects were old people, which he delineated with unswerving 
fidelity even to every individual spot, speck, and hair. His works 
are marvels of patience and industry ; and, considering his pur- 
pose, of success also. It is stated that he worked microscopi- 
cally and spent four years on a single portrait. 

Munich, Dresden, and the Louvre have each two of his por- 
traits. The Belvedere, Vienna, has also two, one being his own 
portrait, and the other the Head of an old Woman, for which 
Emp. Ch. VI. gave Denner 4,700 florins. 

**Descent from the Cross. I. A celebrated picture in 
the Antwerp Cathedral, by Rubens ; usually considered his finest 
work. 

The distinguishing characteristic of the work is the great suc- 
cess of representing the pallor of a dead body resting against a 
white sheet; said to have been derived from Volterra's Descent, 
in the Trinita de' Monti, at Rome. The persons represented are 
the three Marys, Joseph of Arimathea, and Nicodemus. 

" I consider Rubens' Christ as one of the finest figures that ever was invented, 
It is most correctly drawn, and, I apprehend, in an attitude of the utmost diffi- 
culty to execute. The hanging of the head on his shoulder and the falling of the 
body on one side give it such an appearance of the heaviness of death, that noth- 
ing can exceed it. 



DEVI 



105 



" Of the three Marys, two of them have more beauty than he generally be- 
stows on female figures, but no great elegance of character. The St. Joseph of 
Arimathoea is the same couutenance which he so often introduced in his works — 
a smooth, fat face — a very unhistorical character. The principal light is formed 
by the body of Christ and the white sheet." — Sir Joshua Reynolds. 

**II. The Masterpiece of Daniele da Volterra, in the 

Ch. Trinita de' Monti, Rome. 

This work is regarded by Poussin as holding the rank of the 
third picture in the world. Unhappily the light in the chapel 
permits but an imper- 
fect view, and the work 
itself was much iujured 
in the attempt of the 
French to remove it. 

•'The Descent is one of the 
celebrated pictures of the 
world, and has very grand 
features. The body is not 
skilfully sustained ; neverthe- 
less the number of strong men 
employed about it makes up in 
sheer muscle for the absence 
of skill. Here are four ladders 
against the cross, stalwart fig- 
ures standing, ascending and 
descending upon each, so that 
the space between the cross 
and the ground is absolutely 
alive with magnificent lines." 
— Lady Eastlake. 

" This has been pronounced 
the third greatest picture in 
the world. I never should 
have had the slightest suspi- 
cion that it was a great picture 
at all, so worn and faded it 
looks, and so hard, so difficult to be seen, and so undelightful when one does 
see it." — Hawthorne. 

Devil's Ladder, The ; The Legend of Lorch (lork). 

A gnome having stolen tho beautiful Gerlinde, carried her away to the inacces- 
sible summit of the Kederich. Her distracted father consulted a hermit, who 
told him a black knight on a black horse would come to her rescue. The knight 
appearing on the third day, the hermit again resorted to his incantations, and in 
due time a host of imps had constructed a ladder reaching to the top of the pre- 
cipice, up which the knight made his ascent, slew the gnome, rescued the fail 
Gerlinde, and restored her to her father, and after a while of course took he* 
hiniself. 




Descent — Rubens. 



106 



DIAN 



Diana, myth. Greek Ar'-te-mis, goddess. I. Sister of Apollo, 
a maiden g-oddess never conquered by love ; is armed with a 
bow, quiver, and arrows ; changed Actseon into a stag because 
he beheld her bathing ; with Apollo slew the children of Niobe. 
II. Arcadian Diana, the goddess of Nymphs, with whom she 
hunted on the mountains, her chariot being drawn by four stags. 
As the huntress, she is draped from the shoulder to the knee, and 
her attributes are the bow, quiver, arrows, spear, dog, and stag. 

As the goddess of the morn, her 
head is veiled, and has a crescent 
on the forehead ; her robe reaches 
to the feet, and her hand holds a 
torch. 

Statues: Berlin, 13, 29, 125-6-7A-8, 
134, 204 ; Borgh. Villa, II. 18, VI. 8 : Br. 
Mu., 106-12-13-20 ; Glyp., 93, 113 ; Louvre, 
*97, **98; Naples, 168 (110), 8S (75), 284, 
52 (411) ; Vat., 431, 622, (Br.) 50, 10S, (Ch.) 
532 bust, 564. 

I.** Diana di Gabii, Louvre, 
Salle du G-ladiateur, ~Ro. 97. 
"Perhaps the most beautiful 
draped statue known." 

II.* Diana Huntress, Louvre, 
Salle du Tibre, No. 98; brought 
from Italy ; is of the same style 
as the Apollo Bel., and is sup- 
posed to be of the first cent. 
Called also Diane a la Biche, and 
Diana of Versailles. 
Di-o-cle'-tian, Baths Of, Home; in front of the rly. sta- 
tion ; built a.d. 303, by the labor, it is said, of 40,000 Christians 
These Ther'-mse could accommodate 3,000 bathers, and covered 
considerable space in addition to the present Pi. di Termini. The 
Cella Calidaria, or hall of warm baths, was converted by M. An- 
gelo into the ch. of S. M. degli Angeli (which see). To the r. of 
the ch. are considerable ruins still standing. 

Dirce (dir'-see or dir'-kee), myth, wife of Lycus. See Far- 
nese Toro. 

Dis-cob'-o-Sus {quoit-thrower). Statues: Berlin, 991; 
Br. Mu., 135 ; Pal. Lancelotti, **the best known ; Louvre, Salle 
des Car., 704; Naples, two bronzes; Vat., 615, 618. 




Diana — Lower e. 



DIST 



10'; 



I. Original in bronze by Myron, of which numerous copies exist. 
Several of these have been incorrectly restored, the head facing 

directly front, instead of being 1 
turned to the side toward the disk, 
as seen in the one at the Pal. Lan. ; 
Vat., No. 618. 

45 We find in it the most acute observation 
of life, the most just conception of bold, 
rapid movement, and the greatest freedom in 
the expression of the actor." — Lubke. 

II. Vat. Hall of Biga, No. 615, 
well preserved. Original by Nau- 
kides or Alcamenes. Discovered 
about 7 mis. from Rome on the Ap- 
pian Way. Represented as standing 
with his right foot forward and look- 
ing at his disk before throwing it. 

Distemper, a method of paint- 
ing in which the pigments are mixed 
in size made of various materials, 

such as fig-tree sap, milk, albumen, etc.; afterward oil is ap- 
plied, which causes the work to resemble oil painting. 

Distemper is executed upon a dry ground ; fresco upon fresh 
or wet plaster. 

Distinguished Persons; residences and tombs of . 

[b.,born; bu., buried; d., died; 1., lived; mar., married; ch. 
yd., churchyard; nr. , near.] 




Discobolus — Vatican. 



Abelard, bu. Pere Lachaise. Paris. 

Addison, see Addison. 

Akenside, bu. St. James', Piccadilly, 

Lond. 
Albert, Pr.. bu. Frogmore, Windsor. 
Angelo, bu. St. Croce, Florence. 
Ascham, bu. St. Sepulchre's, Lond. 
Bacon, Lord, b. York House, Strand ; 

d. Arundel House, Highgate, Lond. 
Baxter, preached in Park St., Lond. 
Beethoven, b. Bonn ; 1. Vienna ; bu. 

Wahring, nr. Vienna. 
Becket, b. Poultry. Lond., Mercers 

Hall ; bu. Canterb. Cath. 
Black Prince, bu. Canterb. Cath. 
Blackstone, 1. No. 2 Brick Court, Inner 

Temple Lane, Lond. 
Boleyn, Anne, bu. St. Peter's, in the 

Tower, Lond. 
Bolingbroke, bu. St. Mary's, Battersea, 

Lond. 
Bonaparte, bu. Ch. des Invalides, Paris. 



Brahe, Tycho, bu. Teynkircbe, Prague. 
Buckle, bu. Kensal Green, Lond. 
Buhver, bu. St. Ed. Chap., Westm., 

Lond. 
Burke, Ed., d. 37 Gerard St., Soho, 

Lond. 
Burns, bu. ch. yd., Dumfries Scot. 
Bunyan, bu. Bunhill Fields, Lond. 
Butler, poot, d. Rose St.; bu. in ch. yd. 

St. Paul's, Covent Garden, Lond. 
Bruce, heart of, bu. Melrose Abbey. 
Byron, b. 16Halles St.; 1. 139 Piccadilly, 

Lond. 
Caesar, Aug., bu. Manfol. of Aug., Rome. 
Cagsar, J. , body burned in the Forum, 

Rome. 
Campbell, 1. 8 Victoria Sq., Pimlico ; 

bu. Westm. Abb< y, Lond. 
Canning, d.Chiswick Ho.; bu. in Westm. 

Abbey, Lond. 
Carlyle, 1. Cheyne Row, Chelsea. Lond 
Cath. de Medicis, bu. St. Denis, Paris. 



108 



DIST 



Charlemagne, b., 1., d., & bu. Aix-la-Cha- 

pelle. 
Chas. I., bu. St. Geo. Chap., Windsor. 
Chas. II., bu. Westm. Abbey, Lond. 
Chas. X. of Fr., bit. Goritz, Aust 
Chas. XII. of Sw., bu. Stockholm. 
Chatterton, d. No. 88 Brooke St., Lond. 
Chaucer, b. Lower Thames St ; student 

of the Middle Temple, Temple Bar ; 

bu. Westm. Abbey, Lond. 
Chesterfield, 1. Chest. Ho., May Fair, 

Lond. 
Chatham, b. St. James's Parish, Lond. 
Coleridge, 1. & d. Pemberton Row, 

Highgate, Lond. 
Congreve, bn. Westm. Abbey, Lond. 
Cooper, Sir Astley, bu. Guy's Hosp., 

Lond. 
Cromwell, b. at Huntingdon ; mar. at St. 

Giles, Lond.; 1. King St.; bu. Westm. 

Abbey ; body exhumed, bones scat- 
tered. 
Dante, bu. Ravenna. It. 
Davy, Sir H., bu. Geneva ; Tablet, 

Westm. Abbey, Lond. 
Defoe, b. St. Giles, Oripplegate ; bu. 

Bunhill Fields, Lond. 
Dickens, 1. Tavistock Ho.; bu. Westm. 

Abbey, Lond. 
Donizetti, bu. Bergamo, It. 
Dry den, d. 43 Gerard St., Soho ; bu. 

Westm. Abbey, Lond. 
Elizabeth, Queen, b. Greenwich, Lond. ; 

d. Richmond ; bu. Westm. Abbey, 

Lond. 
Faraday, bu. ch. yd., Highgate, Lond. 
Franklin, Ben., 1. 7 Craven St., Strand, 

Lond. 
Fred. Barbarossa, d. Tyre, Asia. 
Fred. Great, tomb, ch. Potsdam. 
Fox, orator, d. Chiswick Ho.; bu. Westm. 

Abbey, Lond. 
Fox, Quaker, bu. Bunhill Fields, Lond . 
Galileo, bu. St. Croce, Florence. 
Garrick, bu. Westm. Abbey, Lond. 
Gay, bu. Westm. Abbey. Lond. 
Geo. III., IV., bu. St. Geo. Chap., 

Windsor. 
Gibbon, b. Putney; 1. 7 Bentinck St., 

Manchester Sq. 
Gibbons, sculp., bu. St. Paul's, Cov. 

Gard., Lond. 
Gibson, sculp., bu. Kensal Green, Lond. 
Gilpin, John, had linen store, Cheap- 
side, Lond. 
Gluck, the composer, bu. Matzleinsdorf. 
Goethe, b. Frankfort; bu. Weimar. 
Goldsmith, 1. 2 Brick Court, Temp. Bar ; 

bn. Temp. Ch ; mon. Westm. Abbey, 

Lond. 
Gray, poet, bu. ch. yd., Stoke Pogis. 
Grey, Lady J., beheaded within the 

Tower; bu. in St. Peter's, Tower, 

Lond. 



Gus. Adolphus. b. & bu. Stockholm; 

d. Ingoldstadt. 
Gwynne, Nell, 1. Lauderdale Ho., High- 
gate ; bu. St. Martin's in-the- Fields, 

Lond. 
Hadrian, bu. Castle St. Angelo. 
Handel, composer, 1. Burlington Ho., 

Piccadilly ; bu. Westm. Abbey, Lond. 
Harold Harefoot, bu. St. Clement 

Danes, Lond. 
Hastings, Wiirren, bu. Daylesford, Eng.; 

mon. Westm. Abbey, Lond. 
Haydn, b. Salzburg ; bu. Gumpendorf, 

Vienna. 
Heloise, bu. Pere Lachaise, Paris. 
Henry IV. of France, bu. St. Denis, 

Paris. 
Henry VII. of Eng., bu. Westm. Abbey, 

Lond. 
Henry VIII. of England, bu. St. Geo. 

Chap., Windsor. 
Herschel, b. Hanover, Ger.; 1. Slough, 

Eng. 
Hogarth, b. Smithfield ; 1. Leicester 

Sq.; bu. Chiswick ch. yd. 
Humboldt, b. Potsdam ; 1., d., & bu. 

Berlin, Pruss. 
Hunt, Leigh, b. Liverpool ; 1. 1 Cheyne 

Row, Chelsea, Lond.; bu. Kensal 

Green, Lond. 
James I. of Eng., bu. Westm. Abbey, 

Lond. 
Joan of Arc, b. at Domremy la Pucelle; 

burned at the stake. Rouen, Fr. 
Johnson, Dr., 1. 17 Gough Sq.. Fleet St.; 

d. 8 Bolt Court ; b. Westm. Abbey ; 

mon. in St. Paul's. Lond. 
Jonson, Ben, b. Charing Cross; 1, 
' Blackfriars ; bu. Westm. Abbey, 

Lond. 
Josephine, Empress, tomb Malmaison, 

Fr. 
Keats, wrote 17 Cheapside ; bu. Prot. 

Cem., Rome. 
Knox, John, 1. & bu. Edinburgh, Scot. 
Kosciusko, 1. Leicester Sq., Lond.; d. 

Soleure, Switz.; bu. Cracow. 
Lafayette, bu. Cem. Picpus, Paris. 
Lamb, Charles, b. Crown Office Row ; 1. 

4 Inner Temp. Lane, Lond. 
Landseer, b. 83 Queen Anne St.; bu. 

St. Paul's, Lond. 
Livingstone, bu. Westm. Abbey, Lond. 
Locke wrote his Understanding, Shaftes- 
bury Ho., W. Biompton, Lond. 
Louis XIV., XV., XVI.. XVIIL, bu. St. 

Denis, Paris. 
Louis XVII., bu. St. Marguerite's ch, 

yd., Paris. 
Louis Philippe, bu. Dreux. 
Luther, bu. Church, Wittenberg. 
Marlowe, bu. Deptford, old Church. 
Maria Theresa, tomb, Ch. of Capuch.. 

Vienna. 



DOGE 



109 



Marie Louise, tomb, Ch. of Capuch., 

Vienna. 
Marie de Medicis, bu. Cath., Cologne. 
Marie Antoinette, bu. St. Denis, Paris. 
Mary of Eng., b. Greenwich ; d. St. 

James's Pal.; bu. Westm. Abbey, 

Lond. 
Mary Queen of Scots, bu. Cath., Peter- 

boro' ; removed to Westm. Abbey, 

Lond. 
Mary, Highland (Burns 1 ), bu. Greenock, 

Scot. 
Mendelssohn, bu. Berlin, Pruss. 
Milton, b. Bread St., Cheapside; 1.19 

York St.; bu. St. Giles, Lond. 
Moliere, b. Pere Lachaise, Paris. 
Montaigne, b. Castillon, Fr.; bu. Bor- 
deaux. 
Moore, poet, 1. 27 Bury St., St. James's, 

Lond. 
More, Sir Thos., b. Milk St.: 1. Chelsea ; 

beheaded and bu. in the Tower, 

Lond. 
Mozart, b. Salzburg; bu. St. Mary's, 

Vienna. 
Napoleon, Louis, 1. King St., St. James's 

Sq., Lond.; bu. Chiselhurst, Eng. 
Nelson, 1. 114 New Bond St.; bu. St. 

Paul's. Lond. 
Newton, 1. Leicester Sq.; bu. Westm. 

Abbey, Lond. 
Peel, 1. & d. Privy Gardens, Whitehall, 

Lond. 
Penn, Wm., b. Gt. lower Hill, 1. Nor- 
folk St., Strand, last house on 1.; bu. 

Stoke Pogis. 
Peter Gt., 1. Buckingham St., Strand, 

last ho. w. ; bu. Ch. of Sts. Peter and 

Paul, Petersburg. 
Pitt, d. Bowling Green Ho., Putney ; 

bu. Westm. Abbey, Lond. 
Pope, b. Plough Court, Lombard St.; 

bu. Twickenham, Eng. 
Prior, 1. Duke St., Westm., opp. Charles 

St.; bu. Westm. Abbey, Lond. 
Kaleigh, imprisoned in the Tower ; be- 
headed at Westm.; bu. St. Margaret's, 

Westm., Lond. 
Reynolds, 1. Leicester Sq.; bu. St. 

Paul's, Lond. 
Richard Cceur-de-Lion, heart of, bu. 

Rouen, Fr. 



Richelieu, tomb Chap, of the Sorbonne, 
Paris. 

Rogers, John, burned, Smithfield, Lond. 

Rogers, poet, bu. Hornsey ch. yd.; mon. 
in Ch. 

Schiller, b. Marbach, Ger.; bu. Weimar, 
New Cem. 

Schubert, bu. Wahring, nr. Vienna. 

Scott, Sir Walter, bu. Dryburgh Abbey, 
Scot. 

Sept. Severus. bu. Castle of St. Angelo. 

Shakespeare, b., 1., d., & bu. Stratford- 
on Avon. 

Shelley, 1. 41 Hans PL, Sloane St., 
Lond.; bu. Prot. Cem., Rome. 

Sheridan, d. 7 Saville Row, Lond. 

Smith, Capt. John, bu. St. Sepulchre's, 
Lond. 

Somerville, Mrs., 1. Chelsea, Lond. 

Spenser, b. nr. the Tower ; d. King St., 
Westm.; bu. Westm. Abbey, Lond. 

Stael, Mme. de, 1. 30 Argyll St., Lond.; 
bu. Coppet, Switz. 

Sterne, d. 41 Old Bond St.; bu. Bays- 
water, Lond. 

Swedenborg, Em., b. Stockholm ; bu. 
Swedish Ch., Prince's Sq., Lond. 

Thackeray, bu. Kensal Green ; mon. 
Westm. Abbey, Lond. 

Thiers, bu. Cem. Pere Lachaise, Paris. 

Thompson, poet, bu. Ch., Richmond. 

Turner. 1. 47 Queen Anne St., Caven- 
dish Sq.; bu. St. Paul's, London. 

Tyler, Wat, killed, Smithfield Market, 
Lond. 

Voltaire, lodged at the White Peruke, 
Maiden Lane, Lond. 

Wallace, executed at Old Smithfield 
Mkfc. PI.; head exposed on London 
Bridge. 

Wallenstein, 1. at Prague, assassinated 
at Eiger, Ger. 

Walton, Isaac, 1. Fleet St., cor. Chan- 
cery Lane, Lond. 

Watts, Dr., bu. Bunhill Fields, Lond. 

Weber, C.von, d. 91 Upper Portland St., 
Lond. 

Wesley, bu. Wes. Chap., City Road, 
Lond. 

Wolfe, Gen., bu. Old Parish Ch., Green- 
wich, Lond.; mon. Westm. Abbey. 

Wren. Sir Chris., bu. St. Paul's, Lond. 



**Doges, Palace of the (do'-jes), Venice; daily, 10-4, 1 
fr. ; Sun. free. Originally founded in 800, destroyed and rebuilt 5 
times ; the present structure dates from 1350. Entrance is at 
the r. of St. Mark's, through the portal of the Court ; the corner 
columns at the portal represent the Judgment of Solomon, and 
Adam and Eve. 

Entering the Court, immediately in front is the Giants' Stair*- 



110 DOGE 

case, and on the r. , in the court, 2 bronze cistern or well 
curbs. 

The Giants' Staircase is so named from the colossal statues of 
Mars and Neptune standing at the top. Ascending, on the 1. is 
the fine facade of Bergamasco, forming the n. side cf the Court. 

At the summit of these steps the Doges were crowned. Around 
the colonnade are busts of eminent Venetians ; Dandolo, Marco 
Polo, Tintoretto, and many others. In the wall, opposite the 
landing, is an inscription commemorating the visit of Henry III. 
of France to Venice, 1574. 

Sala del Maggior Consiglio, Hall of the Great Council, 
one of the finest halls in Europe, 175 ft. long, 85 wide, and 51 
high. 

Entrance Wall. — Paradise, by Tintoretto, 84 ft. long and 34 wide 
— the largest oil-painting ever executed. Around the hall, portraits 
of 76 Doges, the space of Marino Falieri, who was executed, be- 
ing vacant. Commencing on the r. at the entrance door and pro- 
ceeding around the hall, the pictures on the n. wall illustrate the 
contest between the Pope and Fred. Barbarossa, Venice espousing 
the cause of the Pope ; on the s. wall Venice aiding the Crusaders; 
on the ceiliag the glory of Venice. 

North Wall.—l, Doge recognizes Pope Alexander III., Vero- 
nese; 2, Embassy to the Emp. Fred. Barbarossa, Tintoretto; 
3 (above the window), Pope presents the consecrated taper, 
Bassano ; *4, Emp. receives the Embassy, Tintoretto ; *5, Pope 
delivers the consecrated sword to the Doge, Bassano ; 8 (above 
the window), Pope blesses the departing Doge, Fiammingo; 7, 
Defeat of the Emp. at Salvore, his son Otho taken prisoner, 1 
Tintoretto. 

(Door leading to the Sala dello Scrutinio.) 

8 (above the door), Otho presented to the Pope, Vicentino ; 
9, Pope releases Otho, Palma, Yr. ; *10, The Emp. submits to 
the Pope, F. Zucchero ; 11 (above the door), Conclusion of 
Peace, Emp. Doge, and Pope, Gambarato. 

West Wall. — 1, Pope consecrates the banners of the Doge, del 
Moro ; 2 (between the windows), Return of the Doge after a 
victory over the Genoese, Veronese; 3, Doge crowning Baldwin, 2 
Aliense. 

1 " This picture is mere national boasting, . . as no such battle was ever 
fought." — Murray. 

3 " This is historically untrue, as he was crowned by a legate. 11 — Murray. 



DOGE Hi 

South Wall, /Series of the Crusaders. — 1, Baldwin elected Emp. 
of the East by the Crusaders, Vicentino; 2, Second Conquest 
of Constantinople, Tintoretto; 3, First Conquest of Constanti- 
nople, by Doge Dandolo — blind and 90 years of age, Palma Vc- 
cJiio ; 4, Son of the dethroned Emp. of Greece implores aid, 
Vicentino ; 5 (above the window), Surrender of Zara, Tinto- 
retto ; 6, Assault of Zara by Dandolo, Vicentino ; 7, Alliance 
between Venice and the Crusaders in St. Mark's (1201), Le Glerc. 

Ceiling. — Middle, next the Paradise, Venice crowned, Veronese; 
Centre picture, oblong, Venice among the Deities, and the Doge 
receiving Embassies, Tintoretto ; 3, Venice surrounded by the 
Virtues, Palma, Yr. 

Sala dello Scrutinio. — B. wall ; 1, Capture of Zara, 1346, 
Tintoretto ; 2, Capture of Cattaro, 1378, Vicentino ; 3, Battle 
of Lepanto, 1571, Vicentino ; 4, Destruction of Castle Margari- 
tino, 1571, Bellotti ; 5, The Victory of the Dardanelles, Liberi ; 
N. Wall ; Triumphal arch of Doge Morosini, Lazzarini; W. Wall; 
6, Pepin besieges the Rialto, Vicentino ; 7, His Defeat, Vicen- 
tino; 8, Defeat of the Caliph at Jaffa, Paranda ; 9, Capture of 
Tyre, 1124, Alien se ; 10, Defeat of the Sicilians, 1141, Titian. 
Wall of Exit; *Last Judgment, Palma, Yr.; on the frieze 39 
Doges. 

Archaeological Museum; six rooms. Entrance from the 
Vestibule. 

Room I . — 1, .ZEsculapius ; 6, Mercury; 9, Minerva, 12, Venus; 
17, Apollo ; 29, Venus ; 30, Jul. Csesar ; 32, Boy and Goose ; 35, 
Cupid with Bow ; 38, Jupiter ; 46, Silenus ; 51-56, Muses ; 58, 
Trajan; 66, M. Antony; *80, Apollo; 85, Bacchus and Faun; 
90, Minerva. 

Room 2. — 102, Cupid (copy of Praxiteles) ; 113, Mask of Pan; 
134, Love and Psyche ; 138, Leda and Swan ; *144, *145, *153, 
Gaul Warriors ; *148, Ganymede ; Chimney-piece of the fifteenth 
century. 

Room 3. — Sala dello Scudo (where the Shield of the Doge was 
hung), containing Maps and Portraits of eminent Venetians. 

Room 4. — Sala degli Scudieri ; sarcophagi, reliefs, urns, etc. 

Room 5. — Sala dei Busti ; 247, Hadrian; 250, Faun; 262, Ca- 
ligula ; 270, Augustus ; 286, Sept. Severus ; *292, Vitellius ; 295, 
Caracalla. 

Room Q.—Hall of Bronzes; 1, Youth Praying; 7, Sleeping 
Youth. 



112 DOLA 

Upper Floor, Room I . — Sala della Bussola (Ante-chamber to 
the Council of Ten). By the entrance was the famous "Lion's 
Head," into the mouth of which secret communications for the 
Inquisitors were thrown ; 1. Taking of Brescia, 142G ; r. Taking 
of Bergamo, 1427 ; both by Aliense. 

Room 2. — Pope and Doge, Bassano ; Peace of Bologna, 1529, 
Titian ; on ceiling, An old man and handsome woman, Veronese. 

Room 3. — Sala dei Tre Capi ; ceiling, Angel driving away 
Vices, Veronese. 

Room 4. — Sala delle Quattro Porte; r. Conquest of Verona, 
Contarini; *Doge Kneeling before Religion, Titian; Doge receiv- 
ing Persian Ambassadors, C. Caliari. 

Room 5. — Sala del Senato ; above the throne, Descent from 
the Cross, Tintoretto ; Doge before Venice, Palma, Tr. ; Doge be- 
seeching aid of the Virgin, Tintoretto. 

Room 6. — Ante-chamber. 

Room 7. — Chapel; above the altar, Madonna, Sansovino ; 1. 
Pieta, Bordone ; *Landscape, Veronese; Crossing the Red Sea, 
Titian. 

Room 8. — Sala del Collegio ; Marriage of St. Catherine, Vir- 
gin in Glory, Adoration, Tintoretto ; over the throne, Battle of 
Lepanto, Christ in Glory, Veronese. 

Room 9. — Ante Collegio ; *Rape of Europa, Veronese ; Ariadne 
and Bacchus, Pallas and Mars, Forge of Vulcan, Mercury and the 
Graces, Tintoretto. 

*The Prisons and the Bridge op Sighs may be visited 
upon application to the custodian. The latter, called the Ponte 
dei Sospiri, may be best seen after leaving the Palace by passing 
around the s. side along the Molo to the first bridge. It will be 
observed on the 1. at a height of 30 or 40 ft. , connecting the Pal- 
ace and the Prison. 

Dolabeila, Arch of, Rome, a.d. 10, near the ch. of S. Gio- 
vanni e Paolo, over which Nero carried an aqueduct. 

Dolci, Carlo (dole'-chee), 1618-1686, b. Florence. His 
works indicate fine perception of color and great delicacy of 
touch, with less facility of composition or force of originality. 
There is frequent similarity and often repetition. He was most 
successful in sorrowing faces and delicate hands 

" Without the possession of much genius or invention, he excited considerable 
interest by a number of pleasing and highly finished pictures, chiefly confined to 
devout subjects, and most frequently representing heads of our Saviour and of the 



DOME 113 

Virgin. These are not so much admired for particular beauty o£ character as for 
a soft and tranquil expression of devotion in the patient suffering of Christ, the 
plaintive sorrow of Mater Dolorosa, or the compunction of a saint in penitence." 
—B. 

" Carlo Dolce is a painter against whom one gets in time to feel a sort of perso- 
nal spite. His red-bordered eyes, his affected attitudes, and his sickly sweetness 
soon disgust and weary." — Hillarcl. 

Principal Works : Belv., two ; Berlin, 423 ; Borgh., IV. 36 ; Brera, 47 ; 
Corsi., III. 49, 88 ; Dul., 337 ; Dres., 61, 62, 63 ; Hermit., 252, 254, 255 ; Liecht., 
II. 31 ; Munich, 453 ; Pitti, 154, 270, 302, 316, 404 ; Pesth, V. 195 ; Uffi., 165, 
ISC). 

Domenichino (do-ma-nee-kee'no), Domenico Zampieri, 

1581-1641, Bologna. Entering the school of the Carracci, not- 
withstanding his natural timidity and a slowness which his com- 
panions attributed to dulness, he ultimately became its most 
distinguished pupil. 

At Rome he executed works of high merit in many of the 
churches. His Communion of St. Jerome, in the Vatican, is con- 
sidered as second only to Raphael's Transfiguration, if, indeed, 
it is second. See Jerome, St. 

These masterpieces occupy the same room. His success awak- 
ened a bitter animosity which he sought to avoid by going to 
Naples. Here he was commissioned to decorate the ch. of St. 
Januarius. His death, which occurred soon after, led to the sus- 
picion of his having been poisoned by jealous rivals. His works 
are characterized by a laborious fidelity to nature, with little im- 
aginative embellishment. His cherubs and children are greatly 
wanting in the sportive ease that mark those of Raphael and 
Correggio. 

"He surpassed most of his contemporaries, if not by the great force of his 
imaginative faculty, at least by his genial feeling for nature, his very great tech- 
nical skill, as also by the charming simplicity of his style." — Lubke. 

Principal Works : Barb., III. 74; Bolog., 206, 207: Borgh., V. 15; Brera, 
453; Cap., 20; Dresd., 482; Dul., 226; Hermit., 179, 180; Liecht., III. 7S ; 
Louvre, 409, 470, 473-4-7-8: Lucca, 9; Nat. Gall., 4S, 85; Naples, £0; Pitti, 176, 
461, 476, Rosp., Paradise, David; Uffi., 1109. 

Domitian (do-mish'-e-an), Roman Emp., 81-9G, son of 
Vespasian; b. A.D. 51. His early reign was commendable, but 
want of success in war embittered his mind, and his later years 
were marked by viciousness and cruelty. Several conspiracies 
against his life were formed, which at last ended in his being 
murdered by the connivance of his wife, Domitia. 

Domitian, Statue of, in the Roman Eorum, opp. the Ba- 

8 



214 DONA 

silica Julia. Here formerly stood the colossal gilt bronze eques- 
trian statue, mentioned by Statius, some remains of the pedes- 
tal of which may still be seen in the middle of the paved area. 
The discovery of the position of this statue was the principal 
key to the identification of the locations and buildings of the 
Forum. 

Donatello, Donato di Betto Bardi, 1386-1468, Italy. 
Among his many earlier works were four statues in marble for 
the facade of the Campanile in Florence. David, the Zuccone, 
now in the Uflfizi, he himself regarded as his masterpiece. He 
also cast in bronze the group of Judith and Holof ernes, now stand- 
ing in the Loggia dei Lanzi, Florence. 

At the request of the Seignory of Venice he erected an eques- 
trian statue at Padua. The *horse, whose head expresses a noble 
pride, seems to tremble under the hand of his master. This 
admirable work, by its general correctness, its purity, and its 
admirable proportion, recalls the richest legacies of antiquity. 
It is still seen in the Piazza San Antonio. 

Upon his return to Florence, he was charged by Cosmo with 
the execution of the History of the Evangelists for the ch. of San 
Lorenzo, partly in painting and partly in relief. These and other 
works in the same church were the conclusion of his labors. 
Through life he had executed many smaller and admirable works 
in bronze, the most of which are yet to be found in Florence. 
He was honored by magnificent funeral obsequies, and his re- 
mains entombed in San Lorenzo. In style he adhered more closely 
to nature than any artist of his time. 

Doria Pamflli, Villa, Home. M. and F. 1-4. Short dis- 
tance outside of the Porta San Pancrazio, on the Janiculum. 
Grounds extensive and beautiful, affording * magnificent views 
of Rome and the Campagna. The Casino ({■ fr.) Contains several 
works of merit and a few antiques. 

Dow, Gerard, Douw, Dou, 1613-1675, Leyden, Hoi. Studied 
in the school of Rembrandt. His works are remarkable in finish 
and execution, and the management of light and shadow. His 
candle and lantern scenes have never been excelled. His pic- 
tures are usually small, with few figures, and at the present 
time command the most exaggerated prices. 

He painted about two hundred pictures ; among the most noted 
are the Dropsical Woman, in the Louvre, often regarded as his 
chef-oVmwre, Evening School, in the Amsterdam Mus., and a 



DRES 115 

Candle-light scene in the Brussels Mus. Genre subjects illustra- 
tive of ease, comfort, and rustic enjoyment. 

"Poetry and imagination were sacrificed to his marvellous technical skill." 
Principal, Wobks : Amst. Hoop., 31 ; Belv., two ; Berlin, 843, 854 ; Brans., 404 ; 

Brass., 166; Cassel, 430-1; Dresd., 1134-5-6-7-S-9, 1140-1-2-3-4-5-6-7-8-9; Dul., £5, 

106 : Frank., 244A. ; Hague, 28-9 ; Hermit., 903-4-5-0-7-10-11-12; Liecht., VI. 17fi ; 

Louvre, 121-3-4-5-6-7-S-9, 130; Munich, 864-7-9; Nat. Gall., 192, 825, ( .;68; Rijks, 

£6 7-8-9 ; Turin, 391 ; Uffi„ 7S6. 

Dresden, the capital of the kingdom of Saxony, is situated 
on both banks of the river Elbe ; Altstadt, the larger portion, 
being on the left bank, and Neustadt on the right. It has a pop. 
of 220,000, and is a favorite residence of Americans, as affording 
excellent advantages in art, and as being one of the least expen- 
sive places in central Europe. 

The localities of interest are principally in Altstadt. The Royal 
Palace is near the Old Bridge, from which the principal street 
leads southward for the distance of a mile, to the Bohmischcr 
Bahnhof and Bismarck Platz, on the south margin of the city. 
This main thoroughfare, passing through an arch under the Pal- 
ace, is designated as Schloss Strasse to Alt Markt, thence, for a 
distance, as See Str., thence onward as Prager Str. Adjacent to 
the Palace, on the w. , is the Zwinger, an extensive building, in 
which are the Art Collections and Museums. 

Principal Places of Interest : the Picture Gallery, the Museum 
of Natural History, the Museum of Mineralogy, the Historical 
Museum, the Museum of Casts, the Green Vaults, and the Museum 
of Antiquities. 

**Ths Picture Gallery ; see Part II., Dresden. P. 435. 

The Museum of Natural History, in the Zwinger, M., 
10-1 ; W. , Th. , and Sat., 2-4; W. and Sat., free; contains an 
interesting coll. of birds, nests, and eggs. 

The Museum of Mineralogy, in the Zwinger ; in summer, 
Tu., F., 10-12, free; other days and the rest of the year, fee; 
fine coll. of minerals, fruits, and geological specimens. 

The Museum of Casts, in the Zwinger, entrance opp. the 
Prince's Pal.; in summer, M., Th., 10-2, free ; other days and the 
rest of the year, fee ; contains an admirable coll. of casts of all 
the noted antiques. 

The Historical Museum, in the s. and w. wings of the 
Zwinger, 9-2; Sun. and holidays, 11-2; fee; closed Sat. ; con- 
tains weapons, armor, costumes, cups, inlaid work, etc. 



116 DRU 

Collection op Engravings, in the Z winger, W., Sat., 10-2, 
free ; other days, fee ; numbering about 350,000, extending from 
the time of the earliest German masters to the present. 

♦The Green Vaults in the Schloss, or Palace ; entrance in 
the court, to the left ; Sun. , 11-2 ; other days, 9-1 ; fee ; contains 
a coll. of jewels, gold and silver work, ivory carvings, and curiosi- 
ties of art, of the greatest value and interest ; among which is the 
largest known onyx, valued $30,000. Catalogue necessary. 

The Japanese Palace, in Neustadt (noy-stat), contains a 
Museum of Antiquities; in summer, W., Sat., 10-2, free; other 
days and the rest of the year, fee. 

Route*: To Berlin, 3 hrs., $3.50; $2.50. To Vienna, 13 hrs., $11 ; $9. To 
Cologne, 17 hrs., $13 ; $10. 

Dru'-SUS, Arch of, Home, at the Porta Sebastiano. By 
some this has been supposed to be the arch erected by the Senate 
to Drusus, as mentioned by Suetonius. But as its style corre- 
sponds with that of the 2d cent, a.d., it is more probable it was 
erected by Caracalla for the aqueduct to his baths. 

** Dry burgh Abbey (dry'-bu-ruh), $%>£., on the Tweed, 4 mis. 
s.e. of Melrose. Carriage to the ford, thence on foot, crossing 
the Tweed, £ ml. Founded about 1144, upon the site of a Druid 
Temple ; destroyed by Ed. II. , of Eng. , who thus appeased his 
vexation at his unsuccessful invasion of Scot. , 1322 ; restored by 
Bruce, and sacked, 1385 ; and again destroyed by the English, 1544. 
In 1604 it was bestowed by Jas. IV. upon the Earl of Mar, thence 
by descent it came into possession of the Earl of Buchan, whose 
seat is in the vicinity. The ruins derive additional interest from 
being the resting-place of Sir Walter Scott, his wife, son, and his 
son-in-law and biographer, Lockhart. 

A monument to Wallace crowns a steep wooded hill to the east. 

Dublin {black pool), pop. about 400,000; the largest city in 
Ireland, and one of the finest in Europe. St. Patrick's Cathedral, 
1190, nearly destroyed by fire, 1362, contains the tombs of Dean 
Swift and Stella. Christ Church Cathedral, 1190, much modern- 
ized, distinguished as the church in which the Liturgy was first 
read in Ireland in the Eng. language, contains the tomb of the 
Earl of Strongbow. P7icenix Park, 1,750 acres, is on the s.w. 
margin of the city. The Castle has little of interest, nothing of 
Hs ancient character remaining. 

Routes : To Cork, 6 hrs., $7 ; $5.50. To Belfast, 3 hrs., $5 ; $3.75. By 
ktmr. to Holyhead, $3 ; Liverpool, $3.25 ; Belfast, $1.50 ; Glasgow, 
$4. To London, stmr. to Holyhead, thence by rly., 11 hrs., $11. 



DRES 



117 



W ^t^^tLS 




West. 



Dresden. 



East. 



118 



DULW 



Dulwich (dul'-ij) Gallery. See Part II., Dulwich. P. 437. 
Dum-bar'-ton Castle, or Dunbarton (Dun-Briton, hill of 
the Britons), the Theodosia of the Romans, and their naval arsenal ; 
on the Clyde, Scot., 13 mis. n.w. of Glasgow. Has been a strong- 
hold for a thousand years. Was held by the Romans and Scotch, 
Ed. I., Baliol, Bruce, Queen Mary, Ch. I., and Cromwell. It was 
from this castle that Queen Mary set sail for France when a child ; 
in 1563, she revisited it in state. Queen Victoria visited it in 

1847. The Castle has many times been 
attacked and taken. It is now an arm- 
ory, and contains the two-handed sword 
of Wallace (?). 

Dumblane, or Dunblane, Scot. 
Near by was the indecisive battle of 
Sheriffmuir, 1715, between the Preten- 
der and the English. See Route 3 A, 
Note 15. 

Durer, Albert, 1471-1528, Nurem- 
berg ; painter, sculptor, architect, and 
engraver. He is regarded as the founder 
of the German School of Art. He vis- 
ited Venice, Padua, Bologna, and the 
Netherlands. His works are richer in drawing than in color, 
though sometimes bordering on the fantastic. His masterpieces 
are principally in the German Collections. His portraits have 
usually a hard and severe expression, seldom exhibiting tender- 
ness. In his portrait-coloring, a dull, brick-red predominates. 

" Albert Durer need fear comparison with no master in the world, not even with 
Raphael or Angelo, so far as inborn artistic ability is concerned, and yet in all that 
concerns the peculiar means of expression in art, the clothing of the thought in 
the vestment of glorified beauty of form, he is bo closely fettered by the narrow 
limitations of his own surroundings * that he seldom rises to that height of art 

where thought and form find equal expression 

" He seldom attains to perfect beauty of form. . . He took the matter of his 
pictures from his own environments, and never sought after types of dignity and 
beauty, 2 but rather after strongly marked and characteristic heads, which are 
often er coarse than noble or graceful." — LitbJce. 

"In vain did he familiarize himself with the Italian Masters ; he retains his 
graceless forms, his angular folds, his ugly nudities, his dull color, his barbarous, 
gloomy, and saddened faces. The wild imagination, the deeply religious senti- 




A. Durer. 



1 And yet he had been in Venice, Bologna, Padua, and the Netherlands. 

2 Which is a matter of astonishment for one of the first " inborn masters of 
the world." 



DYCK 119 

ment, and the vague philosophic divinations which shine through his works, show 
an intellect to which form is inadequate." — Taiue. 

u His qualities were sufficient to place him by the side of the greatest artists 
whom the world has ever seen. He fails, however, in feeling for beauty, and Lis 
nude is vulgar, and sometimes even ugly in character.'" — Kugler. 

As between these somewhat diverse criticisms, an acquaintance 
with the works of Diirer will possibly incline the cis- Atlantic stu- 
dent to the view of the French critic. 

Principal Works : Barb., III. 79; Belv., eight; Bergamo, 10G ; Cassel, 7; 
Corsi. IV. 44? VI. 34? 43? Drcsd., 1722A-3-5 ; Frank., 8(5-7; Louvre, 072; 
Madrid, 1314-15 ?-10?-17; Munich, 1, 2, 3, 71-6, 93, 712-16-20-31-39: Nurem- 
berg, Ger. Mu.. 1348-9-51 ; Nat. Gall., 245 ; Pitti, 1, 20 ; Urn., 439, 777-8, 1141. 

Dyck, Sir Anthony van, Vandyke, 1599-1641, b. at Ant- 
werp ; pupil of Rubens. In 1820 he visited Italy and studied 
the works of Titian and Giorgione, remaining six years and ex- 
ecuting many portraits. Returning to Holland, he was honored 
with innumerable commissions. 

Visiting England, in 1632, he was appointed court painter by 
('has. I. , who, three months afterward, conferred upon him the 
honor of knighthood. 

His works, which are numerous and of very unequal merit, are 
to be found in all large collections. He was a master of portrait- 
ure, seldom surpassed in expressive delineation of the human 
face, but he was inadequate to the vigorous composition of an 
animated scene. 

He died in London, and is entombed in St. Paul's, near John of 
Gaunt. 

" Of all the masters of the most developed period of art, van Dyck alone with 
Titian divides the first place in portraiture." — Kugler. 

Principal Works.— Amst. Hoop., 36 ; Ant., 401-3-4-5 ; Augsburg, 104, 118, 147 ; 
Belv., eleven; Berlin, 770, 778, 782, 'T94; Brera, 439, 4-13; Bruns., 109, 473; 
Brass., 188, 1S9, 192; Cap., 100, 106; Cassel, 290-1-3-4-5-7, 300-1-4? Corsi., III. 
21? VI. 32? Colog., 621; Dresd., 982-5-6-7 8, 990-1-2-4-5-6-7-8; Dul., 135, 214; 
Edinb., 315-18-19; Prank., 117; Genoa, Brig., portraits ; Hague, Flem. Sch., 203- 
4-6; Hamp. Ct., 47, 85, 3S7 ; Hermit., 603-7-8-9. 610-1-2-4-5-6-7-8, 620-1-2-4-6-8, 
6.:0-2-3-4-5-6-8— thirty-four in all ; Leicht., V. 115, 118, 126, 142-3-6-7-8-9, VII. 
239 ; 2d floor, VIII. 693, 766 ; Lille, 193-5-6 ; Louvre, 136-7-8-9, 141-2-3-4-5-6-8-9. 
150-1-2-3-4-5; Madrid, 1319, 1320-1-2-5-6-7-8-9, 1330-15-7-8; Milan, Amb., 25 ; 
Munich, 175, 193, 198, 203-6-7-9-12, 217, 313-15, 333, 345, 347, 927-8-9, 930, 934, 
940, 1308, 1414, and others ; Naples, Sal. di Corr., 4, Dutch and Plem. Sch., 12 ; 
Nat. Gal., 49, 50, 52, 680, 877 ; So. Kens., one portrait ; Turin, 338, 351, 363, 
384; TJffi., 1115, 1128, 223; Venice, SCO : Verona, 47? Vienna Acad., portrait, 
Child., 198. 

*Ecole des Beaux Arts (a-cole'-day-boze'-ar), Paris, \^Rue 
Lona'parte, 10-4 daily; 1 fr. (Sept., W., Th., F., only). In the 



120 ECOL 

court are remains of Middle Age Architecture ; in the centre 
bronze statue of Abundance, and to the r. is the celebrated por- 
tal of the Chateau d'Anet, by Goujon ; to the 1., fresco on lava. 
Separating this court from a second is the Arc de Gaillon, 1500. 
Upon the first floor are copies of Raphael's loggie in the Vatican, 
by Baize ; in an adjacent hall, Delaroche's magnificent Hemicycle, 
containing 75 figures of celebrated artists. On the throne in the 
centre are Phidias, Ictinus, and Apelles ; in front, Greek, Gothic, 
Roman and Renaissance Art are represented by 4 female figures, 
the one with long hair being a portrait of the artist's wife, 
daughter of Horace Vernet. Additional rooms exhibit models of 
the Coliseum, Columns of the Parthenon ; and in the chapel is a 
copy of Angelo's Last Judgment. 

The Ecole has about 150 students, and each year sends two 
students of painting, one of sculpture, and one of architecture to 
Rome, for four years, to study at public expense. 

£cole de M6decine, of the University of France, Pans, 
Boul. St. Germaine, near Hotel de Cluny ; has 1,500 students 
and 30 professors. 

Ed i n bu rgh (ed'-in-bo-ro ; Edwin'' s burgh), Scot. Lat. , 55° 57 ; 
Ion., 3° 11 ; pop., 230,000 ; upon two ridges of ground, divided by 
a deep, narrow valley, formerly a morass, now made into a pub- 
lic park, through which the rlys. pass. To the n. of this park is 
the New Town, composed of modern and elegant buildings — the 
principal street, Princes St. , bordering upon and overlooking the 
Park. The principal hotels are on the opposite side of Princes 
St. The rly. stations are in the valley. To the s. lies the ridge 
of the Old Town, terminating, to the w., in a rocky bluff, upon 
which stands the Castle, thus in the heart of the city. The Old 
Town is the historic part of the city, the New being quite mod- 
ern. The first Scottish Parliament was convened here by Alex. II. , 
1215. The entire town, except the Castle, was burned by Rich. 
II. Eng., 1385 ; taken and burned by the Eng., 1554; in 1557 
the first Covenant was signed ; in 1638, the National Covenant. 
Scotland having espoused the cause of Charles, Cromwell marched 
upon the city and took the Castle ; 1745, the rebels under Ch. 
Ed. took possession of the city. 

Principal Places of Liter est : Edinburgh Castle, Holyrood Ab- 
bey, Calton Hill, St. Giles Church (which see). Among the 
objects of less interest are the house of John Knox, High St.; 
Allan Ramsay's Theatre, the favorite resort of Burns ; the Black 



EDIN 



121 




122 EDIN 

Turnpike, the prison of Queen Mary, near the Tron ch.; and the 
Heart of Mid-Lothian, the site of an old prison. Annie Laurie 
was married in Tron ch. 250 years ago. John Knox is buried 
in the paved court between the Pari. House and St. Giles-, 
marked by the letters J. K. in the pavement. Some of the 
houses are 12 stories in height. 

Routes : To Glasgow, \)4 hr., $1.30 ; $1 ; or, via Stirling and the Lakes, 12 hrs., 
$7 ; $5 ; see Route 3 A. To Melkose, 1% hr., $1.90 ; $1.40 ; see Route 5. To Lon- 
don, 12 hrs., $12 ; $10, either via east coast, midland, or west coast ; see Routes 
4, 5, and 7. 

Waverly Station at the e. end of Princes St. for all lines but the 
Caledonian. Caledonian Station at w. end of Princes St. 

**Edinburgh Castle, Scot., daily, ex. Sun., free, is situated 
on a precipitous ledge 880 ft. in height, approachable only on the 
eastern side, the other sides being nearly perpendicular. This 
castle has for centuries held a leading place in Scottish history. 
Early a Caledonian stronghold, it became the residence of King 
Edwin, and of the Scottish kings, until taken by Ed. I. of Eng., 
1296, who held it for 17 years. Being retaken by the Scots, it was 
dismantled by Bruce, ceded to the English by Baliol, and retaken 
by Douglas, 1341. In 1573 it was taken from Mary by the Re- 
formers, aided by the English. Its last attack was the unsuc- 
cessful attempt by Pr. Ch. Ed., in 1745. By the articles of 
union between Scot, and Eng. this castle is to be kept in a state 
of defence. 

Entrance to the castle is made from the eastern side, crossing 
the esplanade, or drill-ground, where Lord Forbes, Lady Glamis, 
and several Reformers were executed. Crossing a drawbridge, 
we pass beneath gateways with portcullises, along a paved road- 
way, spanned at the upper end by a prison. Here state crimi- 
nals were confined, and here Argyle passed the night before his 
execution. Near by is the Argyle battery, barracks, and the 
Governor's House. Passing up a flight of steps we come to the 
summit, which commands a most magnificent* view of the city 
and its environs for many miles. Adjacent is Queen Margaret's 
Chapel, the most ancient building in Edinburgh, the private 
shrine of Margaret, Queen of Malcolm Canmore ; now used as a 
Garrison Baptistery. 

The Palace Yard, to the s., is a square of about 100 ft., on 
the e. and s. side of which are the Old Royal Palace and Parlia- 
ment House. 



EDWA 123 

*Tlie Regalia Room, open daily, ex. M., 12-3, to the 1. up- 
stairs, contains the ancient regalia of Scotland, the crown, the 
sceptre, the sword of state, and royal jewels. 

* Queen Mary's Room, further on, is less than 9 ft. square, 
and is memorable as the place where Mary gave birth to her son 
James VI. , afterward James I, of Eng. It was from the window 
of this room that, for safety he was, 8 days after, let down in a 
basket and removed to another castle. In the ante-room is a por- 
trait of Queen Mary at 18 years of age. 

On the s. side of the court is the Old Parliament House, now 
the Garrison Hospital. The other sides of the quadrangle are 
occupied as barracks. 

Edward I., Eng., son of Henry III.; occupied the throne 
from 1272 to 1307 ; conquered Wales and gave the title Prince of 
Wales to the heir to the throne ; attacked Scotland and defeated 
Wallace, and took the Scottish coronation- stone to London 
(now in Westminster Abbey). Entombed in Ed. the Confessor's 
Chapel, Westm. Abbey. 

Edward III., Eng., 1327-1377. Fought the memorable 
battle of Crecy and Poictiers, and took Calais. 

*Ehrenbreitsteen (eh'-ren-brite'-stine, Honor's broadstone), 
Ger., opp. Coblenz, 400 ft. above the Rhine, called the Gibral- 
tar of the Rhine. Originally a castle presented by Dagobert to 
the Abp. of Treves, and confirmed by Emp. Henry II., 1018. 
Afterward erected into a fortress. It was besieged in 1631, 
1795-6-7-8, but has surrendered only twice, once through strata- 
gem and once from famine. 

After the peace of 1801, the French evacuated and blew up 
the fortifications, for the restoration of which they afterward 
paid Germany 15 million fr. The reconstruction, since 1816, has 
cost 8 million dollars. **View from the walls. See Route 20. 

** Elgin Marbles (g hard), in the British Museum. 

" The Parthenon, erected at Athens, b.c, 4-40, remained comparatively unin_ 
jnred until 1687, when, in the bombardment of the city by the Venetians, the 
temple was reduced to ruins. In 1801, Lord Elgin. British Ambassador at Con- 
stantinople, purchased from the Turkish Government, for $350,000, many of the 
Bculptures of the Parthenon then remaining. These consisted of statues of the 
pediments, and the frieze and 1? metopes, original works of Phidias. Of the me- 
topes, 31 are yet in their original places, 17 in the British Museum, and 1 in the 
Louvre. 

" Single figures only remain of the pedimental groups. Fortunately, however, 
a few years previous to the destruction of the temple, an accurate drawing of the 
pediments had been made by a French artist, from which a knowledge of the rela- 



124 



ELMO 



tive position of the statues has been obtained. The statues are much broken and 
weather- woi n. Those remaining are from the angles of the pediment, the central 
groups having been lost or destroyed. There has been much diversity of opinion 
as to the persons the various statues were intended to represent. They exhibit a 
grandeur of conception, a nobility of action, and a harmonious beauty such as is 
unequalled by any other work in the whole range of art." 

Until recently the sculptures of the Parthenon have been 
ascribed to Phidias, but at the present time critics are uncertain 
" of the precise connection of Phidias with these works." 

Elmo, St., Castle of, Naples, 1343, with its massive walls, 
its fosses hewn in the solid rock, has long had the reputation of 
being second in impregnability only to Gibraltar and Malta. This, 
however, being of little value in modern warfare, the fortifications 
have been demolished, and the buildings are now used as a mili- 
tary prison. 

Elysee, Palais de I' (pal-a-deh-lay-lee-say), Paris, in the 
Champs Elysees, opp. the Palais de l'lndustrie. The residence of 
Mme. de Pompadour, in the time of Louis XV. ; 1815, of Napoleon 
I. ; and, after Waterloo, occupied by Wellington and Emp. Alex- 
ander; also by Louis Napoleon, as President of the Eepublic, by 

President MacMahon 
and President Grevy. 

En-dym'-\on,myt7i, 
renowned for his per- 
petual beauty and per- 
petual sleep. It was 
believed that Selene — 
the moon — caused his 
sleep that she might be 
able to gaze on him 
without his knowledge. 
His beauty so warmed 
her cold heart that she 
came down, kissed him, 
and lay by his side. 

♦Picture, by Grirodet, in 
the Louvre, Salle des Sept 
Cheminees, No. 251. 
Statues : Br. Mu., 148 ; Stockholm, from Hadrian's Villa, found 1783. 

**Eros (ee'-ros), or Genius of the Vatican, Cupid, stat. 
Vatican, Gall, of Stat. , No. 250. Supposed to be a copy of the 
Eros of Praxiteles, which stood in the Portico of Octavia, and 




Eros — Vatican. 



ESQU 125 

which was brought from Greece by Caligula. Found 2 mis. out- 
side the Porta Maggiore. Has traces of wings on the shoulders. 
It represents the dreamy state when youth is merging into man- 
hood ; is the one which Phryne chose and presented to her native 
town, Thespis. 

"Praxiteles had offered Phryne her choice among his works; and in order to 
ascertain which the artist himself esteemed most highly, she caused him to be 
informed that his studio was on fire, whereupon he exclaimed : ' I am undone if 
the fire has touched my Eros or Satyr.' " 

Esq ui line Hill (ess'-kee-leen), Rome, the largest of the Seven 
Hills, extending from the Forum n.e. to the ch. of S. M. Maggiore. 

Etienne du Mont, St. (a-te-en-du-moft), 1121, ch. Paris. 
Square tower and round turret, probably 1222. Enlarged 1491. 
Narrow gallery along the columns. Elaborate screen, 2 spiral 
staircases. Tomb of Ste. Genevieve, patron saint of Paris, in a 
chapel r. aisle, upon which are votive offerings. Around the tomb 
may be observed numerous crutches and canes brought by the 
lame and infirm, and left as mementoes upon being cured at the 
shrine. Festival of Ste. Genevieve Jan. 3d, on which occasion, 
1857, the Abp. of Paris was here assassinated by an ex-priest. 

Et-ru'-ri-a, or TusciA; that part of Italy between the river 
Magra (at Spezia) and the mouth of the Tiber, and extending 
from the sea on the west to the Apennines ; was occupied by a 
highly civilized people prior to the time of early Rome. The 12 
confederate Etruscan cities were Oortona, Arretium, Clusium, 
Perusia, Volateme, Vetulonia, RusellaB, Volsinii, Tarqninii, Va- 
lerii, Veii, and Caere. Subjugated by the Rom. B.c. 283. The 
Etruscan vases have been found chiefly in the tombs a few mis. 
to the n.w. of Rome. 

Etruscan and Egyptian Museum, Florence. Via Fa- 
enza, No. 57. 

Admission, daily, 1 fr. Sun., free. Etruscan Coll. entrance 
to the r. 

Room I . — Vases from Chiusi ; *Etruscan tomb, from Volsinii. 

Room 2. — Centre; the celebrated * Francois vase; Greek 
vases. 

ROOM 3. — Terra-cotta, bas-reliefs; coins, crystals, bronzes; 
* Athena. 

Room 4. — Centre; Chimsera; Urns. 

Room 5. — Armor, bronzes; Perseus and Medusa; Peleus and 
Thetis. 



126 ETRU 

Room 6 (entrance from the 4th room). — *Statue of " the ora- 
tor " found near Lake Trasimene. 

Egyptian Coll. — *Frescos of the Last Supper, school of 
Perugino ; Statue of Pharaoh ; Sarcophagi ; Mummies ; etc. , etc. 

Etruscan Museum. See Vatican, Sculptures. P. 479. 

Europa, myth, dau. of the king of Sidon ; was approached 
by Jupiter in the disguise of a beautiful white bull ; and she, 
being pleased, mounted upon his back, and was borne to Crete, 
where she became the mother of Minos, Rhadamanthus, and 
Sarpedon. 

*Europa, Rape of, painting by Paul Veronese, in the Doges' 
Pal., Venice. There is a replica in the Cap., Rome. 

'* It must have been in its day the most brilliant and rejoicing picture, the most 
voluptuous, the most exuberant that ever put the sunshine to shame. The Bull 
has all Jupiter in him, so tender and gentle, yet so passionate that you feel it in- 
decorous to look at him. And Europa, under her thick rich stuffs and embroideries, 
is all a woman." — Hawthorne. 

"For brilliancy, fanci fulness, extraordinary refinement and invention in color, 
it has no equal. The reflection of the foliage overhead bathes the entire picture 
with an aqueous green tone ; the white drapery of Europa is tinged with it ; she, 
arch, subtle, languishing, seems almost like an eighteenth-century figure. One has 
to look at it and keep silent." — Tainc. 

Eustache, St. (you-stahsh), Paris; the largest church in 
Paris, except Notre Dame ; erected, 1532, on the site of a temple 
of Cybele ; Italian facade, Gothic interior, and Byzantine front 
of the chapels. In one of the chapels is a 
monument to Colbert consisting of a figure 
kneeling on a black sarcophagus. 

Eyck, Hubert van (ike), 1366?- 
1426 ; b. at Masseyck, Hoi. Resided at 
Bruges and G-hent. Effected great im- 
provements in coloring — sometimes said 
to have invented oil painting. " That he 
effected a revolution in painting is beyond 
a doubt. He breathed life into the Sym- 
bolic Art which had preceded him. He 
H. van Eyck. represented scriptural scenes and charac- 

ters through the medium of such people as he had seen in actual 
life ; and nature as he saw it, and did not hesitate to use well- 
furnished rooms for his sacred scenes." 

His most noted work is the "Adoration of the Lamb" in 12 
pictures, of which the Adam and Eve are in the Mus. Brussels ; 6 





EYCK 127 

panels in the Berlin Mus. ; the remaining panels are in the ch. of 
St. Bavon, at Ghent. See Adoration. 

Eyck, John van, 1390-1440, bro. and pupil of Hubert. His 
works are finished with great care and delicacy, but are wanting 
in the strength of Hubert's. One of his best works, a portrait 
of himself and wife, is in the Nat. Gall., Lond. 

" The Van Eycks extended the scope of painting to such an extent that not for 
a century after did painting in the north of Europe 
reach the point where they left it." 

" John is usually, but erroneously, regarded as the 
more talented of the two." 

Faience, Fayence (fy-onV). See Pot- 
tery. 

Farnese Gladiator. See Gladiator. 

Farnese Hercules. See Hercules. 

Farnese Palace (far-nay'-zay), in the ' ^ 

Pi. Farnese, Rome. J - van E * ck - 

11 The architecture of the palace is, beyond all doubt, the finest in Rome: it 
loses much of its interest when we know that the blocks of travertine, of which it 
was constructed, were taken from the Theatre of Marcellus and the Coliseum, 'of 
whose ruins,' says Gibbon, ' the nephews of Paul III are the guilty agents ; and 
every traveller who views the Farnese Palace may curse the sacrilege and luxury 
of these upstart princes.' " — Murray. 

The granite basins in the Piazza are from the Baths of Cara- 
calla. In the portico of the court is a sarcophagus, said to be 
that of Csecelia Metella. Since the occupancy of the palace by 
the ex-royal family of Naples, little has been open lo the public 
except the frescos — the masterpieces of Annibale Carracci, upon 
which he s-pent no less than 8 years, and was rewarded with the 
paltry sum of 500 crowns ($600). 

The subjects of the frescos are mythological ; centre : Bac- 
chus and Ariadne. Among others Pan and Diana, Mercury and 
Paris, Ganymede, Perseus and Andromeda, Galatea, Europa, Le- 
ander, etc. 

" I consider the frescos of the Farnese Palace as far the greatest production 
of Annibale, as to color." B. 

Farnese To-ro, Legend. Lycus, king of Thebes, divorced 
his wife Antiope, who, surprised by Jupiter, had brought forth 
two sons, and married Dirce, who thenceforth treated Antiope 
with great cruelty, and put her in prison. Antiope, escaping, fled 
to her sons, Amphion and Zethus. Dirce, afterward finding her, 
endeavored to put her to death, but was prevented by the timely 



128 



FARN 



arrival of the sons. Upon their becoming grown they attacked 
and took Thebes, slew Lycus, and tied Dirce to a wild bull to be 
dragged to death. 




Farnese Toro— Naples. 

**Statue: Nat. Mus., Naples; by Apollonius and his brother 
Tauriscus, of Rhodes ; found in the Baths of Caracalla, much 
mutilated, restored by M. Angelo, the head of the bull and con- 
siderable portions of all 4 figures being restorations. This is the 
largest antique group now known. 

"This work suffers from the same deficiency as the Laocobn ; here, also, the 
expression of a moral idea is wanting, and our sympathy is awakened only through 



FARN 129 

bodily action and suffering : but in powerful boldness of composition, in thorough- 
ness of execution, and harmony of grouping, as well as in the perfect knowledge 
and mastery displayed in the treatment of the figures, this majestic work is per- 
haps even greater than the other." — Liibke. 

Farnesina Villa (far-nay-see'-nah), Borne, on the w. bank 
of the Tiber, opposite the Farnese Palace ; 1st and 15th of the 
month, 10-3. Noted especially for Raphael's Myth of Psyche 
and Galatea. 

**The Myth of Psyche, in 12 scenes, from the tale of 
Apuleius, was designed by Raphael, and painted in part by his 
pupils G. Romano and F. Penni. 

1, Venus jealous of Psyche ; 2, Cupid, enamored of Psyche, 
carries her off ; 3, Venus seeks Psyche and imprisons Cupid ; 4, 
Venus seeks aid from Jupiter ; 5, Venus implores him to send 
Mercury to find Psyche ; 6, Jupiter sends Mercury ; 7, Venus im- 
poses cruel tasks upon Psyche and sends her to bring- a casket from 
the infernal regions ; 8, which, to the surprise of Venus, Psyche 
brings; 9, Cupid, having escaped, implores aid of Jupiter, who 
summons a council of the gods ; 10, Psyche brought to Olympus, 
and the gods celebrate the nuptial banquet. 

" They are painted as a Greek might have painted them, who believed in the 
wonders which he drew. They are no cold transcripts of dead forms ; the poetry 
of Homer is not more vital. The blue sky and luminous air of Greece bend over 
and idealize every scene and every group. The nymphs that haunted the piny 
mountains of Arcadia, or danced upon the shores of the whispering iEgean, live 
once more in the Venus, the Psyche, and the Graces of Raphael. These compo- 
sitions are remarkable, not only for grace and beauty of design, for truth of ex- 
pression and for dramatic vivacity, but also for their purity of feeling." — Hillard. 

**The Gal -a-te-a represents the goddess of the sea riding in 
her shell with nymphs and tritons. 

" This is one of the most beauti ful compositions that art has produced, imbued 
with a sense of life and enjoyment that is perfectly enchanting. Yet with all 
this, and in a scene of strictly Pagan and sensual imagination, the purity of the 
feeling becomes a main element in its beauty. With the exception of the group 
to the right of the Goddess, the fresco was entirely executed by the master's own 
hand." — Kugler. 

On the ceiling, Diana, and Medusa, by Peruzzi ; the lunettes by 
del Piombo and da Volterra. 

A head, by M. Angelo, who coming to see Volterra and not 
finding him, left this sketch. 

Fauns, myth ; gods of the fields and shepherds, represented 
with bristly hair, horns, pointed ears, and sometimes a tail ; en- 
dowed with both human and animal qualities and forms. The 
older are called Sileni ; the younger, Satyrisci ; fond of wine, 



130 



FAUN 




Faun of Praxiteles — 
Borne. 



dancing, and music. In the later Latin writings fauns and satyrs 
were one and the same. 
Statues : Cap., I. *15 ; II. 1; Glyp., *95; Naples, *Dancing Faun, statuette, 

bronze ; Sleeping Faun, bronze ; Vat., 406 ; (Br.) 120 ; 

(Ch.) 495. 

* The Faun of Praxiteles, Cap. Mus., 
I. 15 ; a youth of about seventeen leaning 
against the trunk of a tree, his right arm rest- 
ing upon the top of the trunk and holding a 
short flute. There appear to be two statues 
differing but little, the most noticeable varia- 
tion being, that more of the arm rests upon 
the tree in one case than in the other. This 
statue is the subject of " The Marble Faun," 
by Hawthorne. 

" I looked at the Faun of Praxiteles and was sensible of 
a peculiar charm in it : a sylvan beauty and harcnlessness, 
friendly and wild at once. The lengthened but not pre- 
posterous ears, and the little tail which we infer, have an, 
exquisite effect, and make the spectator smile in his very 
heart. This race of fauns was the most delightful of all 
that antiquity imagined. It seems to me that a story 

with all sorts of fun and pathos in it might be contrived on the idea of their 

species having become intermingled with the human race. 

" Their character has never, that I know of, been wrought out in literatim ; 

and something quite good, funny, and philosophical as 

well as poetic, might very likely be educed from them." 

— Hawthorne. 

"Praxiteles gave Phryne her choice of whatever she 

liked best among his works. In order to learn which of 

his chefs-d'oeuvre the artist preferred, she caused him to 

be informed that there was a fire in his studio. He 

cried, ' Save my Satyr and my Cupid. 1 " — Ampii'e. 

*Barbertni Faun, Glyp.^o. 95. Found 
at the foot of the Castle of St. Angelo, Rome ; 
supposed to have been thrown down in de- 
fence of the castle against Vitiges, 587. Was 
in possession of the Barberini family until 
purchased by Prince Louis, and brought to 
Munich, 1820. It is believed that this is an 
original Greek work, daticg about 300 B.C. 
The figure is colossal, and represents a Faun 
or Satyr reclining as in a sleep after debauch. Dancing Faun— iVapZes. 

" The attitude is so perfect, the appearance of relaxation of the muscles and 
limbs so thoroughly true to nature, and the very atmosphere of complete languor 




FERR 



131 



and repose so pervades the countenance and 'wholo body of the figure, that the 
spectator almost forgets it is but senseless stone." — Guild. 

Ferrara (fer-rah'-rah), Italy, formerly had 100,000 pop., now 
numbers less than 80,000. Was the seat of the House of Este, 
renowned as one of the most liberal patrons of science and art, in 
the 15th and 10th cents. See Route 48, Note 10. 

Fi-des PubSica, Temple of. See Capitoline Hitt. 

Fiesole (fee-a'-so-lay), Italy, an elevation 3 mis. to the n. of 
Florence, the site of an Etruscan town, portions of whose walls 
yet remain. Commands an extensive *view of Florence and the 
valley of the Arno. Best view from 
an eminence to the e. of the Fran- 
ciscan monastery. 

Flora, Statues of, Berlin, 
107; Cap., I. 11 ; Nap.,* 174; 
the Farnese, found in the Baths 
of Caracalla ; figure and drapery 
especially fine; head, left arm, and 
limbs modern. 

Florence (floicery), Italy, situ- 
ated on both banks of the Arno, 
170,000 pop., was probably foulld- 
ed in the first century B.C. Being 
in the central part of Italy and on 
the road of all the European armies 
that have marched upon Rome, it 
has suffered in every age from mili- 
tary incursions. 

A century of turbulence followed 
the termination of the war of the 
Guelphs and Ghibellines, when, in 
1421, Giovanni de Medici came to 
the administration of the State. This family held the govern- 
ment, with slight interruptions, for nearly a century, and by 
their enlightened statesmanship and their liberal patronage of 
the arts and sciences, raised Florence to the proud eminence of 
leadership in the awakening of the intellect from the slumber 
of the middle ages. 

The Florentine galaxy of illustrious names, Dante, Boccaccio, 
Macchiavelli, Galileo, Cimabue, Giotto, Masaccio, Brunelleschi, 
Orcagna, Ghiberti, Michael Angelo, Raphael, Filippo Lippi, Fra 




Flora — Naples. 



132 FLOR 

Angelico, Ghirlandaio, da Vinci, Carlo Dolci, Fra Bartolommeo 
del Sarto, Savonarola, and many others, is unsurpassed in history 
except by that of Greece. 

Principal Places of Interest : The Cathedral ; the Piazza della 
Signoria ; the Palazzo Vecchio ; the Loggia dei Lanzi ; the Cas- 
cine ; San Miniato ; Bello Sguardo, which see below. The Acad- 
emy of Art; see Part II., Florence, Academy. The Pitti Gal- 
lery ; see Part II. , Pitti Gallery. The Uffizi Gallery ; see Part 
II., Uffizi Gallery. The National Museum; see Part II., Flor- 
ence, Nat. Mus. See also under their respective titles : Medicean 
Chap.; Baptistery; Carmine, ch. of S. M. del; Maria Novella, 
ch. of S. M.; Croce, Sta., ch. of; and the Boboli Gardens. 

The Arno flows through the city from the s.e. to the n.w., 
and is crossed by 8 bridges ; much the larger part of the city be- 
ing on the n. e. side. There is no chief thoroughfare or street 
extending through the city in any direction. The centre of busi- 
ness and of the lines of omnibuses is the 

Piazza della Signoria (pee-at-zah seen-yo-re-ah), the for- 
mer as well as the present centre of the city. On the s. side is the 
Palazzo Vecchio, the Uffizi, and the Loggia dei Lanzi. In this 
public square, where the Fountain of Neptune now stands, the life- 
less bodies of Savonarola and tw^ other monks were burned, 1498. 

The Fountain of Neptune, to the 1. of the Palace, with sea- 
horses, tritons, and nymphs, is by Ammanati ; the figure of Nep- 
tune is 18 ft. in height. The Equestrian Statue of Cosmo I. is 
by G. da Bologna. 

The Palazzo Vecchio (pal-at'-zo veck'-kee-o ; old palace), 
1298, by Arnolfo ; tower, about 300 ft. At the entrance is the 
rroup of Hercules and Cacus, by Bandinelli ; over the door are two 
lions, and under the arches of the gallery the Arms of the Repub- 
lic. The court within is highly decorated ; the Fountain was 
designed by Vasari ; the bronze statuette by Verrocchio ; the 
Samson by de' Rossi. 

The Great Council Chamber, reached by the stairs at the 1., 
was constructed by order of Savonarola for the Great Council ; 
decorated by Vasari. 

*The Loggia dei Lanzi, or dei Signori, was constructed, 1376, 
from designs attributed to Orcagna. 

At the entrance are two colossal lions ; r. antique, 1. by Vacca. 
Within the Loggia, r. *Rape of Sabines, by G. da Bologna ; 1. 
Perseus, by Cellini ; Rape of Polyxena, by Fedi ; Judith and Holo- 



FLOR 



133 




134 FLOR 

femes, bronze, by Donatello. Centre, Death of Achilles, antique •, 
Marble Hercules and Centaur, by G. da Bologna ; against the 
wall six antique Vestals from the Villa Medici, Rome ; the 3d 
from the 1. *Thusnelda, from Trajan's Forum. 

The *Cathedral, II Duomo, or La Gattedrale di 8. Maria 
del Fiore, commenced 1294, under the direction of Arnolfo, and 
continued under Giotto, Talenti, T. Gaddi, Orcagna, and Brunel- 
lesclii, who completed the dome, 1436. The building is 555 feet 
in length and 343 feet in width ; the dome, with the lantern, 
is 352 feet high. The facade was never completed until 1887. 
The Interior : South Aisle, monument to Brunelleschi ; bust 
of Giotto ; monument to P. Farnese, by Orcagna ; St. Mat- 
thew, by de' Rossi ; St. James, by Sansovino. S. Transept : St. 
Philip, St. James, by Bandini ; bas-relief over the Sacristy door 
by della Robbia ; Have, e. end : Stats. John and Peter, by Rovez- 
zano; beneath the altar is the chapel of St. Zenobius with a 
bronze shrine containing the remains of the Saint, by Ghiberti. 
Choir, bas-reliefs by Bandinelli. Behind the high altar is an En- 
tombment (unfinished), by Angelo. _ZV. Transept : Windows by 
Ghiberti. The Tribuna della S. Croce contains St. Andrew and 
St. Thomas, by Ferrucci. N. Aisle : Portrait of Dante, painted 
1465, by command of the Republic. Ascent of the dome, 
1 f r. 

*The Campanile, or bell tower, adjacent, designed by Giotto, 
1334, 292 ft. in height, is regarded as one of the finest towers 
ever erected. Ascent by easy stairs, 1 fr. Fine view. It was the 
design of Giotto to carry a spire to the additional height of 100 
feet above the present structure. 

On the opposite side of the street, to the s., is the ch. of the 
Misericordia, whose members, as brothers of charity, are frequent- 
ly met in the streets in long black robes and cowls, with only 
openings for the eyes. 

Adjacent to this ch. are statues of Arnolfo, the first architect 
of the Duomo, looking at the foundations ; and Brunelleschi, 
the last, looking at the dome. 

Dante was born Via S. Martino, No. 2, 1265. 

Galileo, b. near the Boboli Garden, Via della Costa, No. 13. 

Macchiavelli, b. Via dei Guicciardini, No. 16, beyond Ponte 
Vecchio. 

Amerigo Vespucci, b. in the Borgo Ognissanti, near the ch. S. 
G. de Dio. 



FONT 135 

Michael Angelo's House is Via Ghibellina, No. 64, containiug the 
Buonarroti Gallery ; M. and Th., 9-3 (50 cen.). 

Environs : *T/ie Caserne (cas-chee'-na), the park of Florence, 
commencing immediately at the city gate on the w. , and ex- 
tending 2 mis. along the Arno. The fashionable drive for the 
late afternoon ; shady, cool, and inviting, but with little variety. 
At the extreme end is a raon. to an East Indian prince, the 
Rajah of Holapore, who died in Florence, and whose remains 
were cremated at this place, 1870. 

** Viale dei Colli (vee-ah'-le-day'ee col-lee) a new road, 4 mis., 
winding along the hills to the s of the city, amid charming 
grounds and villas, and commanding most delightful views of 
the city and the encircling mountains, passing the ch. of S. 
Miniato al Monte. 

*Bello Sguardo, an elevation on the s. w. of the city, commands 
one of the finest views of the city and environs. 

* Certosa di Vol d'Ema (cher-to'-sah), a fortress-looking mon- 
astery, 3 mis. dist. 

Boutes : To Bologna, 4 hrs., $3; $2.10 ; see Route 49. To Pisa, V/i hrs., 
$1.70 : $1.20 : see Route 51. To Rome, S hrs., $6.80 ; *$4.70 ; see Route 50. 
Union station for all roads. 

Fontairtebleau (fon-tain-blo'), 2 hrs. from Paris via Lyons 
rly.; 5 to 7 fr. Palace open daily, 12-4, except Tuesdays. Founded 
by Louis VII., 1162; rebuilt by Francis I., 1547, and enlarged 
by Henry IV., 1600. Occupied by Napoleon I. In 1602, Henry 
IV. arrested here Marshal Biron, and a month after beheaded 
him ; in 1685, Louis XIV. here revoked the Edict of Nantes ; 
1686, Conde here died ; 1809, decree of divorce was pronounced 
against Josephine ; 1814, Napoleon parted from his old guard on 
his abdication ; and in 1815, on his escape from Elba, he here 
reviewed them preliminary to his march on Paris. As vis- 
itors are conducted through the apartments by a guide (fee, 1 
fr.), no extended description is necessary. Among those of in- 
terest are 

The Apartments des Reines Meres, occupied by Cath. de Medicis, 
mother of Francis II., Charles IX. , and Henry III. ; and by Anne 
of Austria, mother of Louis XIV. Gallery of Francis /., 14 pic- 
tures by de' Rossi and Primaticcio ; the Apartments of Napoleon 
I. , in one of which Napoleon signed his abdication ; the Salle du 
Trone, where the marshals took their oath of allegiance ; the 
Oalerie de Diane, 330 ft. in length, constructed by Henry IV. ; 



136 FORK 

the Salle des Fetes, by Francis I. , and decorated by Henry II. f 01 
Diana of Poitiers. 

The Forest of Fontainebleau, comprising 42, 000 acres, has been 
the Royal Park for many centuries. Carriages may be engaged 
for the tour for 12 frs., or 2 frs. per hour. 

Fornarina (for-nah-ree'-nah), I. painting, No. 82, Bar- 
berini Gall, Borne. 

" The history of this person, to whom Eaphael was attached even to his death, 
is obscure, nor are we very clear with regard to her likenesses. This portrait has 
the name of Raphael on the armlet, and of the authenticity of which, particularly 
with respect to the subject, there can hardly be a doubt. The figure is seated and 
is uncovered to the waist ; she draws a light drapery around her ; a shawl is 
twisted round her head. The execution is beautiful and delicate, although the 
lines are sufficiently defined ; the forms are fine and not without beauty, but at 
the same time not free from an expression of coarseness and common life. The 
eyes are large, dark, and full of fire, and seem to speak of brighter days. 11 — 
Kugler. 

" To my thinking, the sole work of Raphaels, which is without nobleness of 
conception.' 1 — Liibke. 

" Her features beam with material, but not with intellectual beauty. 11 — Racl- 
clijfe. 

*IL, No. 1123,' in the Tribune, Florence. By Missirini sup- 
posed to be a portrait of Vittoria Colonna, the friend of M. An- 
gelo. Formerly attributed to Raphael, but now to Sebastian del 
Piombo. 

Fortuna (Virilis ?), Temple of, Borne ; on the e. bank of 
the Tiber, near the Pons iEmilius. Well preserved ; surrounded 
by columns 28 ft. high ; the open portico is now closed. Built by 
Servius Tullius, rebuilt during the Republic and converted into a 
ch., 880. On the opposite side of the street is the House of 
Rienzi, upon which is a lengthy inscription. A few steps below 
is the Temple of Vesta. 

Forum. See Boman Forum, Trajan's Forum. 

Fountains, Borne: 

Fontana dell' Acqua Felice, or F. di Termini, near the Pi. 
di Termini. Designed by Domenico Fontana. In the central 
niche is a Moses striking the rock, by da Brescia, who is said to 
have died of grief at the criticism the statue called forth. At 
the sides are Aaron and Gideon. 

Fontana della Barcaccia, in the Pi. di Spagna, in the form 
of a boat. Designed by Pietro Bernini, father of the celebrated 
sculptor. 

Fontana del Campidoglio, Pi. del Campidoglio, near the 



FRAN 137 

Palace of the Senator. Central figure, Minerva, and on either 
side the Nile and the Tiber, from the hatha of Constantine. 
Erected in the 10th cent. 

Fountain of the Quirinal, the magnificent granite basin of 
which was from the Roman Forum, 1800. 

Fontana Paolina, on the Janiculum ; one of the finest in 
Rome. Built by Paul V., 1612; designed by Fontana. The 6 
red granite columns are from the Temple of Minerva. The view 
of Rome and the Campagna from this fountain is especially fine. 

Fountains in the Piazza Navona. See Navona. 

Fontana delle Turtarughe, in Piazza of the same name, 
so called from its 4 tortoises. The 4 fine bronze figures are by 
Landini. Designed by Giacomo della Porta. 

♦Fontana di Trevi (tray'-vee), near the Quirinal, 1735. In 
the centre is Neptune in a car drawn by horses and tritons ; 1. 
Health ; r. Fertility. Designed by Salvi ; the figures by Bracci. 

"Another pompous confusion of fable and fact, gods and edibles, aqueducts and 
sea-monsters.'* — Forsyth. 

"After all it is as magnificent a piece of work as ever human skill contrived."' 
— Hawthorne. 

It is a tradition that drinking at this fountain on departure 
from Rome insures the visitor's return. 

Fontana del Tritone, in the Pi. Barberini. A triton spouting 
the water from a conch, rests on a shell supported by 4 dolphins. 

France, the South of. See Route 64, p. 569-70. 

Francesca, Pietro della (fran-ches'-ka), 1415 ?-l 492, b. 
at Borgo S. Sepolcro, Italy. Distinguished as having applied his 
knowledge of geometry to perspective, and thus added materi- 
ally to its advancement. Is said to have been the teacher of 
Perugino. Francesca was strictly the precursor of da Vinci. 

"He unites the most delicate delineation of form and rare knowledge of 
perspective foreshortening with a tender, golden, almost transparently lucid 
coloring." — Lilbke. 

Francia, Francesco (-che-a, -ches'-ko), Raibolini, 1450- 
1517, Bologna. Subjects were Madonnas and Holy Families, 
in which he represented devotional sentiment with great success. 
His faces are oval ; eyes dark and tender ; the expression pleas- 
ant and meditative ; color, deep and glowing. 

" A painter equal in rank to Perugino. No painter certainly has given greater 
sweetness and beauty to his Madonna heads. His power of rendering the tender- 
est and pearliest female complexions is unsurpassed." — Kugler. 

" I remember but one painter, Francia, who approached this awful class of 



138 FRAN 

subjects (Christ and Madonnas) in a fitting spirit. His pictures are full ol 
boldness, and evidently wrought out as acts of devotion with the deepest sin- 
cerity, and are veritable prayers upon canvas/ 1 — Hawthorne. 

Principal Works ; Berlin, 122-5-7; Boiog., 78-9, 80-1-3, 371-2-3; Borg. II. 
43, 51 ; Brera, 331 ; Dresd., 435-0-7 ; Frank., 41 ; Hamp. Ct., 307 ; Hermit., 68- 
9 ; Louvre, 306-7 ; Modena, 36 ; Munich, 575-7 ; Nat. Gall., 179-80, G3S ; Parma, 
128, 130, 359; Pesth, IV. 1S1 ; Turin, 101 ; Uffl., 1124. 

Frankfort-on-EMialn (-foort; ford of the Franks), Ger., 
pop. about 137,000; a, Roman fortification; established as the 
royal residence of Charlemagne, 794. By decree of Ch. IV. , des- 
ignated as the place where elections of the Emperor of Germany 
should be held, and where a majority of the Emperors have been 
elected. 

Possesses comparatively few places or objects of interest. 

The Cathedral, founded 1238 ; restored 1855 ; since greatly 
damaged by fire, now restored. 

The Romer — the city hall, on the first floor is the *Kaiser- 
saal, where the Electors and newly elected Emperor dined. 

In the Rossmarkt, in the n.w. part, the largest Platz in the 
city, is a mon. to Gutenberg, erected 1858 ; near by is Schiller 
Platz with mon. to Schiller, 1864 ; also in Goethe Platz mon. 
to Goethe, by Schwanthaler, 1844. 

The House in which Goethe was born, inscribed with the date 
of his birth (Aug. 28, 1749), is Grosser Hirsch;-raben, 23, near the 
Rossmarkt. Beyond the Friedberger Thor (gate) a short distance, 
is the Hessian mon. to the Hessians who here fell, 1792, in an 
attempt to recover the city from the French. Adjacent is the 
Ariadne um or Bethmann's Museum, containing the masterpiece 
of Dannecker, ** Ariadne. See Ariadne. 

Routes: To Cologne, 5 hrs., $4; $3. To Berlin, 11 hrs., $12; $9. To 
Dresden, 15 hrs., $11 ; $7.25. To Munich, 11 hrs., $9 ; $5.50. To Heidel- 
berg, 2 hrs., $1.50; $1. To Bale, 8 hrs., $7.50; $5.25. Union station for 
nearly all road^. 

*Frari, The (frah'-ree), or S. M. Gloriosa dei Frari, 

Venice, designed by N. Pisano, 1250. 

S. Aisle: r. **mon. to Titian, erected by the Emp. of Austria, 
consisting of a Corinthian canopy, beneath which is a sitting 
statue of the painter crowned with laurel and uncovering a statue. 
Between the columns are Sculpture, Architecture, Painting, and 
Wood-carving. On the wall 3 reliefs of his greatest works, the 
Assumption, Martyrdom of St. Peter, and of St. Lawrence. 
**Mon. to Canova, opp. that of Titian. Design borrowed from 
Canova's tomb of the Archduchess Christina at Vienna. A 



FRAN 



139 




140 FRED 

marble pyramid on the r., Religion, Art, and other figures as 
mourners ; on the 1. the Lion of St. Mark. The heart only is 
here preserved, the body being entombed at Possagno. In the 
tribune, r. mon. of Doge Eoscari ; 1. tomb of Doge Tron, 27 ft. 
wide, 40 high, with 19 figures. The stalls of the cboir are notice- 
able for the fine wood- work. JSf. Aisle is the tomb of Jacopo 
Pesaro, over the altar of which is Titian's **Pala dei Pesari, rep- 
resenting the Virgin, Child, Saints, and members of the Pesaro 
family, one of the young female figures particularly fine. Joseph 
is the portrait of Titian. *Mon. of Doge Pesaro of questionable 
taste. It is supported by colossal statues of ragged Moors or 
Negroes. 

"The mcst prominent objects are four enormous Negroes, or Moors, of black 
marble, but dressed in jackets and trousers of white marble, and, oddest of all, 
the artist has represented them with their knees and elbows protruding through 
rents in their garments. In grotesqueness and bad taste, this monument has no 
rival in all Europe, to my recollection. 11 — Hillard. 

" I have just examined at the Frari a picture by John Bellini which, like those 
of Perugino, seems tome a masterpiece of genuine religious art. At the roar of 
a chapel, over the altar, within a small piece of golden architecture, sits the 
Virgin on a throne in a grand blue mantle. She is good and simple, like a simple, 
innocent peasant girl." — Taine. (In the sacristy.) 

Frederick L, Barbabossa (red beard), 1121. Crowned Emp. 
of Germany at Aix-la-Chapelle, 1152 ; also at Rome, 1155. Made 
an expedition to Italy, 1154, and again, 1159. Conquered Bo- 
hemia and Poland ; 1162, took Milan, destroyed its fortifications ; 
two years later again entered Italy, and also in 1166 ; and had 
himself crowned again at Rome. In 1174 made an unsuccessful 
attack on Alessandria, and the next year was totally defeated at 
Como. In 1188 he went on the Third Crusade, and while at- 
tempting to ford or while bathing in the river Calycadnus, not 
far from Tarsus, was drowned. By some it is stated that he 
was not drowned, but died from a sudden chill. His body was 
carried by his followers to Palestine, and placed in the Christian 
church at Tyre. 

Fresco, a method of painting upon a freshly prepared ground 
of stucco or plaster. Mineral pigments only are used, and as 
they unite with the lime of the ground, the work cannot be re- 
touched, a feature which renders the method peculiarly difficult. 
See Distemper. 

Furca Pass (foor'-ka), Switz. The Furca road leads from 
Andermatt, in the valley of the Reuss, over the Furca Pass tt 



FYNL 141 

Brieg in the Rhone valley, 12 hrs. by diligence. The summit of 
the Pass is at the alt. of 7,993 ft. The road passes immediately 
near the lower end of the * Rhone Glacier, which is regarded as 
the most magnificent of all the Alpine ice-fields. 

Fynlina. See Pottery. 

Fyt, Jan (fite), 1609-1661, Antwerp; the most distinguished 
Flemish painter of animals, after Snyders, and second not even 
to him in his greyhounds, feathers, and fur ; unequalled in hares 
by any master. Sometimes he painted in connection with Jor- 
daens. 

Gaddi ; I. Gaddo, 1239-1312, b. Florence ; the friend of 
Cimabue and Giotto ; worked principally in mosaics at Florence 
and Rome. 

II. Taddeo, 1300 136G ? b. Florence ; son of Gaddo. 

At the age of 12 he became the pupil of Giotto, whose assistant 
he continued until the death of the master, a period of 24 yearp. 

He was charged with the completion of the unfinished works 
left by Giotto, and his style is so fully identified with that of his 
master, that many of his works have, until recently, been as- 
cribed to Giotto. Few of his works now remain. 

III. Agnolo, — d. 1396, b. Florence ; son of Taddeo, and 
possessing the excellencies of his father with more of originality, 
although he still adhered in general to the stiff Byzantine style. 
C. and C. regard his ' ' Marriage of the Virgin " as one of the best 
compositions of the school of Giotto. 

Gainsborough, Thomas, 1727-1788, b. at Sudbury, Eng. 
Portraits and Landscapes. Several of the latter are in Nat. Gall., 
Lond. , as also a portrait of Mrs. Siddons, Ruskin regards him as 
the greatest colorist since Rubens. 

Galilei, Galileo (gal-e-lay'-o, gal-e-lay'-ee), Italy ; b. at Pisa, 
1564. At the age of 24 appointed Prof, of Math, at Pisa. Here 
his assertion of the laws of nature against the established scholas- 
tic belief awakened such hostility that he resigned and went to 
Padua, where he lectured with unprecedented success for 18 yrs., 
drawing students from all parts of Europe, when Cosmo III. in- 
vited him to return to Pisa and afterward to Florence. 

In 1609, hearing of the invention of a telescope in Holland, he 
constructed one for himself, and immediately discovered the sat- 
ellites of Jupiter, the rings of Saturn, the Sun spots, and the na- 
ture of the Milky Way. These new truths so disturbed the old 
beliefs that he was subjected to persecution, first in 1615, and 



143 



GANY 




Ganymede — Vatican. 



afterward, in 1633 ; was summoned to Rome, tried, and compelled 
to recant his pernicious doctrines, especially of the Copernican 
System and the Revolution of the Earth. He died 1642 — the 
year of the birth of Sir Isaac Newton — at the age of 78, and was 
entombed in the ch. of Santa Croce, Florence. His house in 

Florence is still seen, Via della 

Costa, No. 13, near the Boboli 

Gardens. 

Gan-y-me'-de, myth, the 

most beautiful of mortals ; was 

carried away to be the cup-bearer 

of Jupiter. 

Statuks : Berlin, 214 ; Naples, TO, 118 

(91); Vat., 442, (Br.) 38; Copenhagen, 

Thor. Mus. 
Painting by Rembrandt. Dresden 

Gall., No. 1216. 

Gar-goySe (dragon), in archi- 
tecture, a term applied to spouts projecting from roof gutters, 
frequently representing the most grotesque figures of animals. 

Garofalo(gah-ro-fah'-lo),BENVENUTO Tisio, 1481-1559, b. at 
Ferrara. Garofalo, so called from the gilliflower with which he 
marked his pictures, is regarded as the ablest artist of Ferrara ; 
his coloring equals that of the earlier Venetian school. His most 
celebrated large work is the Entombment, in the Borghese Pal. 

" The most considerable works of his later time are not always the most attrac- 
tive. There is rather empty ideality of expression and a deficiency of making out 
in his lai'ge figures which the most brilliant execution cannot conceal ; and though 
his heads are beautiful and his drapery classical, there is a certain monotony in 
his numerous works." — Kugler. 

Principal Works: Borgh., II., Nos. 6, 9; Brera, 337; Cap., 30, 161,164; 
Corsi, VII. IS ; Doria, I. Cor., 26 ; Dresd., 140-1-2-5-6 ; Frank., 43 ; Hermit, 
59, 60, 61 ; Louvre, 412-13-14-15 ; Munich, 1172, 1333 ; Naples, 26, 52, 1S9, 190; 
Nat. Gall., 81, 170, 642, 671 ; Parma, 3G6, 369 ; Pitti, 5, 122, 246, 363 ; Turin, 108; 
Vat., H. Fam.; Venice, 452. 

Geneva, Switz., a delightful city of 68,000 pop., situated at 
the western extremity of the lake at the efflux of the rapid 
Rhone. 

The hotels which line the lake shores are magnificent struc- 
tures, and crowded with visitors during the summer. Those on 
ihe south bank have the attraction of the "English Garden,'- 3 
sharming and well-kept park ; and those on the north that of af- 
fording, in clear weather, a view of Mt. Blanc 



GENE 



143 




144 GENE 

Geneva was fortified by Julius Cassar; 1034, Conrad II. was 
here proclaimed king. The contest between the Bishops and 
Prefects of Geneva as to temporal sovereignty was the primal 
cause of the Reformation. 

Principal Objects of Interest ; The Cathedral, Musee Rath, Jar- 
din Anglais, Relief of Mont Blanc, Botanical Garden, Monuments, 
House of Calvin, House of Rousseau, and Reviliod's Gallery. 

The Cathedral, erected by Conrad II. , 1021, has been much 
changed by additions during the 8 centuries of its existence. 
Concierge in the rear (fee ^ fr.). Mons. to Duke de Rohan. 
Chair used by Calvin. Carved stalls and windows of the 15th 
cent. 

The Musee Rath, Rue de la Corraterie, upper end ; open 
Sun. and Th., 11-3 ; other days, 1-4. 

Vestibule: casts of modern sculptures: Ghiberti's doors of the 
Baptistery at Florence, Graces by Canova. Hall: the Laocoi'm, 
Venus de Medici, Gladiator, Apollo Belvedere, Diana of Ver- 
sailles, Thorn-extractor. Pictures : * 19, Forest of Handeck, 
Calame ; *29, Sallenche, Diday ; *28, Forest in a Storm, Diday ; 
*55 Cattle, Humbert ; 101, Landscape, Sdlvator Rosa. 

*Jardin Anglais, on the s. bank at some little distance above 
the upper bridge, is a very pretty public park, with a fountain 
in the centre. At the entrance beside the quay is a column with 
various meteorological instruments. In the park is also a 

*Relief of Mont Blanc, 11-3, i fr., Sun. and Th. free, 
showing the configuration of the Alps and the relative height of 
Mont Blanc and the surrounding peaks. It is said to contain 5,000 
houses and a half million trees. Very desirable as a preparation 
for the visit to Chatnonix. 

The Botanical Garden, near the Musee Rath, is reached by 
a short walk along the Bastion Bourgeois ; Busts of Chambrey, 
Trembley, de Saussure, and Rousseau ; also bronze David by 
Chaponniere. 

View of Mont Blanc from along the Quay Mont Blanc, best in 
the afternoon near sunset and clear evenings. On the 1. are the 
Aiguilles du Midi, Grandes Jorasses, and the Dent du Geant; in 
front, the Aiguilles Rouges, the Mole, and the Aiguille d'Argem 
tiere. 

Monuments : Men. de l'Escalade, Rue des Allemands, in com- 
memoration of the defeat of the Savoyards, 1603, in an attack 
upon the city. 



GENE 145 

The National Mon., on the Quay below the Jardin Anglais, 
bronze group by Dorer, of Helvetia and Geneva, in commemora- 
tion of the union of Geneva with the Confederate Cantons, 1814. 
Mon. to the Duke of Brunswick, who bequeathed to the city 
20,000,000 frs.; situated on the n. bank. 

Bronze statue of Kousseau, on Rousseau's isl., reached by the 
2d. bridge. 

RemlwoVs Art GaUery, open daily, ex. Sun. ; small fee to the 
custode ; contains a coll. of antiquities and paintings. Among 
the objects of greatest interest is *Raphaers Madonna of the 
Goldfinch. See Madonnas, No. 15. 

House of Calvin, No. 11, Rue des Chanoines, near the Cathe- 
dral. His tomb in the cemetery Plain-Palais, place unknown. 

House of Rousseau, No. 40, Grande Rue, n. side of the river. 

Distinguished Citizens of Geneva: Necker, Madame de Stael, 
de Saussure, de Candolle, de Luc, Bonnet, Boissier, Say, Sis- 
mondi, d'Aubigne, Rousseau ; Calvin, a native of Picardy, resided 
here several years ; Servetus, a Spanish physician, burned at the 
stake on Champel Hill, by Calvin's order, for having written a 
treatise on the Trinity. 

Koutes : To Lausanne, 1% hr.; $1.25; 90 cts.; see Route 34. To Pakis, via 
Pontarlier, 16 hrs. ; $14 ; $10.80 ; see Route 38 ; via Macon, 14 hrs.; $15 ; $11.60 ; 
see Route 39. To Turin, 11 hrs.; $8; $5.80; see Route 40. To Bebne, 6 hrs.; 
$4.50 ; $3.10 ; see Route 34 to Lausanne, thence Route 33 Lausanne to Berne. To 
Chamonix, by diligence, 8 hrs.; $5. Chamonix to Geneva, 7 hrs. To Bouveket 
(Lake Geneva) by steamer, 4 hrs.; $1.60. Tour of the Lake, 7 a.m. to 6 p.m. 

Environs : North bank of the Lake, Varemb6, residence of EmpreRS Josephine, 
later of Lola Montez ; Pregny (prain-yay), chateau of the Rothschilds, Tu. and 
F., 2-6, admission by card obtained at Geneva hotels; Fernex (fer-nay), 4 mis., 
home of Voltaire ; Coppet (-pay), stmr. 1 hr., home of Necker and Mme. de Stael ; 
both buried in the Chapel. Her ■writing desk and other articles shown ; mansion 
until recently owned by her grandson, the Due de Broglie. S. bank, Diodati, Lord 
Byron's Villa. 

Geneva, Lake of, Fr. Lac Leman, about 50 mis. in length, 
having a breadth of 9 mis. in the widest part, an alt. of 1,230 ft., 
and a depth of about 1,800 ft. It is noted for its deep blue color 
— the other Swiss lakes being greenish. The water is subject to 
sudden fluctuations to the height of 2 or 3 ft., for which, as well 
as for its peculiar color, no satisfactory explanation has ever been 
offered. Its height is from 3 to 6 ft. greater in summer than in 
winter. In scenery it is inferior to lakes Lucerne and Zurich. 
Steamboats leave Geneva several times daily in summer for the 
upper end, via both the n. and s. banks ; 4 or 5 hrs.; $1.50; By 
10 



146 GENO 

taking an early morning boat the excursion of the lake may be 
made, returning the same day. 

Cen'-o-a ; Ital. Genova; Fr. Genes; was an important city 
under the Romans ; a republic in the Middle Ages ; was con- 
quered by the French, 1684, and again 1800. Present pop. about 
170,000. It is enclosed by a double line of fortifications, the 
inner 7 mis. , and the outer 20 mis. in length, erected 1632. 

The beauty of its location and of its harbor constitutes the 
greatest attraction of the city. The finest view of the city is ob- 
tained when approaching from the sea ; within the walls it is 
gained from the dome of S. Maria di Carignano, at the s.e. end 
of the city ; the harbor is best seen from the Gran Terrazzo 
Marinoreo. In buildings, Genoa is more noted for its palaces 
than its churches. 

The Churches of greatest interest are, 

San Lorenzo, the Cathedral, 1100, of alternate black and white 
marble, in the Romanesque, Gothic, and Renaissance styles. In 
the sacristy are relics brought from Palestine by the Crusaders. 

San Ambrogio, church of the Jesuits, particularly rich in gild- 
ing and mosaics. 

San Stefano, containing one of Giulio Romano's best works, 
*The Stoning of Stephen, over the high altar. 

San Annunziata, church of the Capuchins, one of the most 
gorgeous in the city. 

The Palaces, of which there are many, are usually open to 
the public. 

Palazzo del Municipio, near the centre of the city, with a hand- 
some court and a fine staircase, has two letters of Columbus, and 
the violin of Paganini. 

Palazzo Bianco, formerly the Brignole-Sale, possesses the finest 
collection of paintings in the city. The most notable picture in 
the gallery is a Madonna by Raphael. See Madonnas, No. 16. 

Palazzo dei Principi Doria, at the w. end of the city, erected 
for Andrea Doria, " the Father of his Country." 

Palazzo Rosso, with fine picture gallery. 

The Statue of Columbus, 1862, stands in the Piazza Acquaverde. 
The monument is composed of white marble, and represents 
America kneeling at the feet of Columbus, with sitting allegorical 
figures of Wisdom, Religion, Geography, and Strength. 

The Public Garden of Acqua Sola, the principal public resort, 
is on the high ground to the n.e. 



GENR 147 

**Villa Pallavicini is one of the most important suburban 
attractions of Genoa. In all that constitutes a gorgeous palatial 
residence it has few equals in Europe ; 5 mis. from the city, 
Pegli station, on the railway to Nice. Villa opposite the station. 

Routes: To Turin, 4 hrs., $3.40; $2.20; see Route 52 to Alessandria, and 
thence Route 42, Ales, to Turin. To Milan, 5 hrs., $3.50 ; $2.50 ; see Route 52. 
To Pisa, 4>£ hrs., $3.75 ; $2.60 ; see Route 53. To Nice, 6>£ hrs., $4.30 ; $3. 

Genre Painting (zhawn'-r; class, kind, or species). Pictures 
of life and manners, in distinction from historic and religious ; 
thus, domestic scenes, every-day life, interiors, comic scenes. 

Gerda, Legend op Rheinstein (rine-stine). 

The hand of Gerda, the beautiful daughter of Siegfried, the robber knight of 
Rheinstein, was sought by so many knights that Siegfried held a tournament at 
which Gerda was to be the prize of the bravest. Kuno, whom Gerda loved, after 
having vanquished all his antagonists, was at last overcome by the wicked Kurt, 
a favorite of Siegfried. Gerda's prayers and tears were of no avail, and she was 
commanded to make herself ready for her wedding. When the occasion arrived, 
Gerda asked to be permitted to ride to the church. She had scarcely mounted, 
when the steed, which Kuno had presented her rn her eighteenth birthday, at 
once broke away, dashed into the Rhine, and bore Gerda safely to Kuno in his 
castle at Reichenstein. Kurt, whilst pursuing, was thrown from his horse and 
killed, and Siegfried, by the stumbling of his steed, was mortally wounded, sur- 
viving only long enough to be borne to Reichenstein and to pronounce his blessing 
on Gerda and Kuno. 

Germain 1'Auxerrois, St., Ch. of (safi-zher -mail-loaks- 
er-rwah), Paris ; facing the e. front of the Louvre ; founded by 
Childebert ; destroyed by the Normans, 886 ; rebuilt by Robert, 
998. The bell of this church gave the signal of the St. Bartholo- 
mew massacre, tolling throughout the memorable night. In 
1831, on an attempt to celebrate the death of the Due de Berri, 
a mob destroyed the interior ; reopened, 1837. The water basin, 
with a finely sculptured group of three children, was designed by 
Madame Lamartine. The chimes of 40 bells play at 2 and 8 p.m. 
The signal bell is now in the tower of the Pal. de Justice. 

Cermain-en-Laye, St. (zher-man-awft-lay), rly. from Oare 
St. Lazare every hr. ; 13 mis. Sun., Tu., Th., 11-4. The castle, 
the home and favorite residence of Francis I., Henry II. , and 
Henry IV., is a mediaeval structure of great interest. Birthplace 
of Henry II., Charles IX., and Louis XIV. Upon the erection of 
Versailles, by Louis XIV., this place was abandoned as a royal 
residence. Converted by Napoleon III. into a *pre-historic and 
Gallo-Boman Museum. 

Germain des Pres, St. (zher-mafl-day-pray), c7i., P<(ris. 



148 GESU 

Founded by Childebert I., 557. In 801 destroyed by the Nor. 
mans, except the w. tower. The tower of Childebert was after- 
ward restored. In 1369, the abbey in connection was fortified 
by Charles V. against the English. The square buttressed tower 
dates from 990. In the second chapel of the choir is the tomb of 
Descartes. 

Gesu, El ; ch., Home, on the Piazza del Gesu, rear of Palazzo 
Venezia. This is the principal church of the Jesuits, and one of 
the most gorgeous in Rome, 1568. Beneath the high altar, in a 
bronze sarcophagus, are the remains of Loyola, the founder of 
Jesuitism. At the end of the 1. transept is the altar of St. Igna- 
tius. The globe in the hand of the Almighty, said to be the largest 
mass of lapis lazuli known, has been ascertained to be composed of 
small pieces. Paintings of the dome, nave, and tribune by Baciccio. 

Chiberti, Lorenzo (ghe-bair'-ty), 1378-1455, b. Florence. 
Known principally from his renowned bronze doors of the Bap- 
tistery, Florence. He won the commission for this work at the 
age of twenty, against Brunelleschi and other competitors. The 
first door of 28 panels occupied him 23 yrs. ; the second, 28 yrs. 
Buried in Santa Croce, Florence. See Baptistery, Florence. 

GhirSandaio (gheer-lan-dah'-yo ; garland-twiner), Domenico 
Bigordi, 1449-1494, b. at Florence. The master of Michael 
Angelo, and the first artist of his time in Florence. He was equally 
a master of composition, form, proportion, light, and shade. He 
gave to his figures an incomparable dignity of attitude and motion. 
The perfection of Florentine mosaics is largely due to him. 

" The life and works of Ghirlandaio form one of the great landmarks in the his- 
tory of Italian Art. A mind of great creative power and large aims, he gathered 
np the essential elements of art, and presented them in a unity such as had only 
been seen previously in Giotto. 11 

Ghirlandaio had two brothers, David and Benedetto, also pain- 
ters, but who attained no especial excellence. 

Principal Works : Berlin, Nos. 74-5-6 ; Dresd., 29 ; Flor. Acad., I. 50 ; Louvre, 
202; Munich, 556-7-8; Naples, Tuscan Sch., 30 ; Pitta, 358; Urn., 1295-97; Vat., 
Sis. Chap., three. Florence, Ch. of Ognissanti, Last Supper, St. Jerome ; S. 
Marco, Last Supper ; S. Trinita, St. Francis ; Ch. of the Innocents, Adoration of 
the Kings ; S. M. Novella, Life of the Virgin and John Baptist ; Cath. Dome, 
Annunciation (mosaic) ; Pal. Vecchio, Madonna, St. Zenobia. 

Giant's Causeway, on the n. coast of Ireland. By rail 
from Belfast 2| hrs. to Coleraine ; by branch to Portrush ; thence 
by tramway 7 miles. The trip from Belfast and return may be 
made in one day by taking early train. 



GIES 149 

The Causeway is a low promontory of basaltic rock of columnar 
structure, sloping down into the sea. The columns, which stand 
nearly erect and are of regular geometric shapes from three to 
nine sides, rise as they recede from the water's edge to a height 
of 40 to 50 feet. 

As the uncovered portion of the Causeway comprises several 
acres, a guide is necessary to point out the objects of special 
interest — which, however, are not numerous — the triangle, the 
rhomboid, the exact pentagon, the hexagon, octagon, and nona- 
gon, the Giant's Spring, the Giant's Mother, the Wishing Chair, 
the Giant's Gate and the Organ. 

The pleasure which the contemplation of such natural gran- 
deur bestows, is somewhat marred by the nonsensical tales which 
the guides persist in retailing at every point and turn. 

It is probable that this columnar structure underlies consider- 
able portions of the north of the island , as the same is observed 
on the east coast between Belfast and Lame. 

Gibraltar. See p. 571. 

Giessbach (ghees'-bahk), Switz. See Route 30. Lake 
Brienz. Note 2. 

Giles, St., ch., Edinburgh, founded in the 9th cent., rebuilt 
in the 14th, and again 1829. The interior was redecorated 1872. 
It is 206 ft. in length, and has a crown shaped spire, 1G1 ft. in 
height. In papal times it contained 40 altars, and was served by 
70 priests. In the early Protestant period its pulpit was occu- 
pied by John Knox. It i3 also noted as the place where Jenny 
Geddes hurled her stool at the head of the Dean ; also where the 
oath of the Solemn League and Covenant was taken, and where the 
Covenanters taken at the battle of Bullion were imprisoned. It 
is now divided into three parochial places of worship, the High, 
the Old, and the West St. Giles. 

Giordano, Luca (jor-dah-no), "Fa Presto," 1632-1705, 
b. Naples ; pupil of Itibera and Cortona. He treated every 
variety of subject with marvellous fertility of genius. The 
churches of Naples abound with his pictures. In 1690 he was 
invited to Spain by Chas. II., and left for the Escurial not less 
than 50 works. He imitated both Ribera and Paul Veronese. 

'• No painter ever made worse use of extraordinary gifts."' — Kugler. 

Principal Works : Belv., one ; Berlin, 441 ; Brera, 892 ; Corsi, VII. 21 ; 
Dresd., 568-9, 572-5; Hermit., 291-3-3E-4 ; Louvre, 191; Munich, 442, 569; 
Naples, Sala Grande, 89; Pesth, VII. 237; Venice, 571. 



150 



GIOR 



Ciorgione (jor-jeeo'-nay); Giorgio Barbarelli, 1476- 
1511 ; Italy, pupil of Gio. Bellini. An ardent lover of nature, he 
early abandoned the rules and mannerisms which had hitherto 
prevailed in Venice, studying 1 models and seeking- natural effects. 
Ltibke asserts that he is the first master in whose works land- 
scape is poetically conceived. And in general his works present 
a beauty of execution unknown in Venice prior to him. In 
coloring he attained a perfection which has never been surpassed. 
He was the master of Titian, and in style and composition his 
precursor, whilst as to coloring he is regarded by many as the 
superior. He died at the early age of 35, and had he lived, could 
hardly have failed of attaining the highest rank among the great 
masters. His works are not numerous. 

" No painter's reputation stood higher during his life, or has remained more 
steadily at the same elevation to the present day. 11 — Kugler. 

Principal Works : Belv., one ; Bergamo,157 ? 171 ? 187 ? : Berlin., 152 ? ; Borgh., 
13 ? ; Brans., 225 ? ; Corsi, 30 ? ; Dresd. , 218 ? 219 ? 220 ? 221 ? 23S9 ? ; Louvre, 33 ?; 
Munich, 582 ? 470 ?; Nat. Gall., 260 ; Pesth, 143 ?; Pitti, 161 ; Uffi., 571 ? 621 ? 622 ? 

These works are attributed to Giorgione in the official cata- 
logues, but in many instances they are doubtless the work of 
other artists. 

Giotto di Bondone (jot'-to-dee-bon-do'-nay), 1266-1337; 
b. at Vespignano, near Florence ; pupil of Cimabue ; painter, 
sculptor, and architect. 




Li Navicella— GioUo. 



Discarding the Byzantine he sought a closer imitation of na- 
ture, and a wider range of imagination. Through his untiring 
energy, and his better principles of art, he awakened a new in- 



GIOV 



151 



terest throughout Italy. Such was the appreciation of his talent, 
that in his passage through the country, he was detained at 
almost every considerable village, to execute a work for its church. 
Thus his works were scattered throughout the country. 

From the delightful symmetry of his forms, the beauty of his 
figures, the vivacity of his faces, he won the title of • l The For- 
tunate Disciple of Nature." 

" It is impossible to overestimate the influence of Giotto's genius. jj e opened 
a fountain of nature to the gifted generations who succeeded him in Italy which 
permeated through the length and breadth of the land, spreading beauty and fer- 
tility in its course." — Kugler, 

" His heads have a great sameness — long Byzantine faces and figures. He sel- 
dom succeeds in the passionate emotions — anger, hate, or rage. His attempts are 
apt to fall into grimace. ... In the Ch. of S. M. dell' Arena, at Padua, hu 
proved himself one of the greatest masters of any age." — Liibke. 

As an architect he designed and superintended the erection of 
the Campanile at Florence, still called Giotto's tower, and re- 
garded as one of the most beautiful 
in Italy. 

Florence conferred upon him the 
right of citizenship, and bestowed a 
pension of 40 florins per year. En- 
tombed in the Cathedral of Florence. 

Principal Wokks : Berlin, 1073-74 ; Bolog., 
102; Brera, 310; Flor. Acad., 15; Louvre, 192; 
Munich, 1148, 1152, 1420?; Nat. Gall., 276; 
Parma, 431 ? ; Pesth, III. 79; Turin, 91; TTffi., 6 ? 

Also at Assizi, Basil. ; Life of St. Francis, 
Allegories of Poverty, Obedience, Chastity, 
Scenes from the New Test., Salutation, Nativ- 
ity, Presentation, the Innocents, Plight into 
Egypt. 

Florence, Bargello : Portraits of Dante, Do- 
nati, and Latini. Santa Croce : Pernzzi chapel. 
Scenes from the life of John Bap. and St. John 

Evang. ; chapel des Bardi, Life of St. Francis; chapel des Baroncelli, Christ 
Crowning the Virgin ; Acad, of Art, two panels with 12 scenes from the life of 
Christ, and 10 from the life of St. Francis (copies at Berlin). - 

Naples : Convent S. Chiara, Miracle of the Loaves. Padua : Chapel dell' Arena, 
3S scenes from the life of Christ and the Virgin, Christ Glorified, The Last Judg- 
ment, Virtues and Vices. Rome : St. Peter's, La Navicella (mosaic), Martyrdom 
of St. Peter, figures of Saints. St. John Lateran, Pope Boniface VIII. opening 
the Jubilee, 1300. 

*Ciovanni e Paolo, SS. (jo-van' -ny-a-pah-o-lo), ch.,1240, 
the " Westminster Abbey of Venice." Contains the tombs of the 
Doges, whose funeral service always took place here. N. Aisle: 




Dante — Giotto. 



152 



GIOV 



*Tomb of Doge Malipiero; r., in niche, Doge Steno; eques. stat. 
of Gen. Guistiniani ; *Doge T. Mocenigo ; Doge Marcello ; eques. 
stat. of Baglioni; Doge G. Mocenigo. 8. Aisle : *Tomb of P. 
Mocenigo, with 15 statues ; mon. to Bragadino, defender of Cy- 
prus, who was flayed alive by the Turks ; altar-piece, by Bellini. 
8. Transept: Tomb of Gen. Orsini, with eques. stat. Choir: 
Tombs of Doges M. Morosini, *Loredano, **Vendramin, *M. Cor- 
ner. JV. Transept : St. Helena presenting the Baton to Gen. Ca- 
pello ; Doge A. Venier ; eques. stat. of L. da Prato. 

Giovanni de Fiorentini, S. (jo-van -ny), ch., Borne, via 
Giulia, near the Ponte S. Angelo, the national ch. of the Tuscans. 
Contains Salvator Rosa's celebrated Martyrdom of SS. Cosma and 
Damiano. 

Gisela (ghee-say '-lah), Legend op Rudesheim. 

The Knight of Rudesheim being made a prisoner by the Saracens in the Holy 
Wars, made a vow that if he returned safe home he would dedicate his only daugh- 
ter, Gisela, to the cloister. Gisela, in his long absence, had been wooed and won 
by the Knight of Falkenstein. Upon the father's return, and communicating to 
Gisela his vow, she became insane, and at last precipitated herself from the 
tower into the Rhine. 

**Gladiator, The Dying, stat. in Capitoline Mus., Home. 
Found in the gardens of Sallust. A Greek work, sculptor unknown. 

It has long been called 
the Dying Gladiator, 
but it is now believed 
to be a wounded Gaul. 
Right arm restored by 
M. Angelo. One of 
the finest Greek works 
known. 

' ' This figure cannot rep- 
resent a gladiator, because 
it is not found that in good 
times of Art statues were 
ever erected to prize-fight- 
ers, and because no Greek 
artist of sufficient merit to 




Dying Gladiator — Borne. 



execute this figure probably made gladiators, and as in the flourishing period of 
Art no gladiatorial games were known to the Greeks." — Winckelmann. 

" It is a most tragical and touching representation, and no one can meditate 
upon it without the most melancholy feelings. Of all proofs, this is the surest of 
the effects produced by Art. The forms are full, round, and manly ; the visage 
mournful ; the lip yielding to the effect of pain ; the eye deepened by despair ; the 
skin of the forehead a little wrinkled ; the hair clotted in thick sharp-pointed 
locks, as if from the sweat of fight and exhausted strength ; the body large ; the 



GLAD 153 

shoulders square ; the balance well preserved by the hand on which he rests ; the 
limbs finely rounded. The joints alone are slender and fine. No affectation of 
anatomy here." — John Bell. 

"But the charm and power of the statne consist in the amazing truth with 
which two great elements of humanity and mortality are delineated. A vigorous 
animal life is suddenly stopped by the touch of death. The artist gives us all the 
pathos and the tragedy of death, without its ghastliness and horror. The dying 
man is no longer a trivial person stained with coarse employment and vulgar as- 
sociations, but an immortal spirit. The rags of life fall away from him and he 
puts on the dignity and grandeur of death. We feel ourselves in the presence of 
that awful power before whose sceptre all mortal distinctions are levelled. Life 
and death are all that, for a time, we can admit into the mind.' 1 — Hillard. 
"I see before me the gladiator lie : 

He leans upon his hand — his manly brow 

Consents to death, but conquers agony, 

And his drooped head sinks gradually low, 

And through his side the last drops, ebbing slow 

From the red gash, fall heavy, one by one, 

Like the first of a thunder-shower ; and now 

The arena swims around him — he is gone, 

Ere ceased the inhuman shout which hailed the wretch who won." 

— Byron, Childe Harold. 

" I do not believe that so much pathos is wrought into any other block of stone." 
Hawthorne. 

*Gladiator, Farnese, stat., Naples, Nat. Mus., Hall of the 
Flora, No. 16-(30). 

"Faint with agony, his trembling knees seem hardly to support him. He haa 
received his death-wound in the heart and looks as if staggering under it. The 
half open lips show the difficulty with which he draws the little remaining breath, 
and the upturned eyes bespeak the depth of his pangs. It seems as if the un- 
fortunate victim were about to fall at our very feet. Head, arms, and hands 
modern." — Monaco. 

**Gladiator, Fighting, or Borghese Hero, in the Louvre. 
The only known remaining work of Agasias. Believed to be a 
soldier resisting the attack of a horseman, and not, as formerly 
supposed, a gladiator. 

Statues : Glad. Cap. I. ** 1. Louvre, * Borghese ; Naples, Far. ** 16-(30), 
36 ; Vatican (Ch.), 312. 

Glasgow, Scot, (clais-dhu ; dark ravine), is a comparatively 
modern city, and possesses little of historic interest. During the 
last half century its growth has been unequalled in Great Britain, 
and it now ranks as the second city in the United Kingdom, 
having a population of 700,000. In iron shipbuilding it stands 
as the first city in the world — its docks lining both sides of 
the Clyde for miles. It is estimated that Glasgow consumes one 
million tons of iron per year in its manufactures. It was the 



154 GOBE 

residence of Watt, the inventor of the steam engine, and is en- 
titled to the honor of having launched the first European steamer. 
It possesses an extensive foreign commerce, and has two steam- 
ship lines to New York, the Anchor and the State. 

The principal object of interest in the city is the * Cathedral, 
dating from the 12th cent. The carving and decoration of the 
screen and of the columns are exceedingly fine and in good pre- 
servation, but the chief object of admiration is the stained glass 
decoration. 

There are 80 windows in all, of which 44 are designated as the 
great windows, being about 80 ft. in height. Each window is 
illustrative of some event of biblical history. 

* The crypt is particularly worthy a visit, both for the beauty 
and magnificence of its architecture, and as being the scene of 
the meeting of Rob Eoy and Osbaldistone in " Scott's Rob Roy." 
The Cemetery or Necropolis adjacent, contains numerous fine 
monuments ; conspicuously that of John Knox. 

George Square, in the centre of the city, possesses monu- 
ments to Sir Walter Scott (centre), Queen Victoria, Prince Al- 
bert, Sir John Moore, Lord Clyde, James Watt, Sir Robt. Peel, 
and Mr. Graham. 

Parks : Green Park, along the margin of the Clyde ; West 
End or Kelvin Grove, of forty acres, delightfully situated ; and 
the Queen's, or South Side Park of a hundred and fifty acres, 
near which Mary Queen of Scots lost the disastrous battle of 
Langside and with it her throne. 

Routes : To Edinburgh direct, \% hr., $1.40 ; $1 ; see Route 3, B, C, D, via 
Balloch, Loch. Lomond, Loch Katrine, and Stirling, 12 hrs., $5, besides coach- 
men's fees. May be made in one day by taking early train ; see Route 3A. To 
Liverpool, 5 hrs., % 6 ; $5; see Route 4. To London, 10 hrs., $12; $10; see 
Routes 4, 5, and 6. 

Steamers leave daily in summer for Liverpool, Dublin, Belfast, Londonderry, 
Oban, and the Lakes. 

Gobelins (go'-beh-lafl), Paris, avenue des Gobelins; £ ml. 
beyond Jardin des Plantes; W. and Sat., 1-3. No charge, but 
gratuity expected. This royal establishment for the manufac- 
ture of Gobelins has existed since the middle of the 17th cent. 
Six square inches is regarded as an average day's task. Several 
of the exhibition rooms were burned during the communist in- 
surrection, 1871. 

1st Room : 26, Reception of Persian Ambassadors ; 27, The 
Seine ; 32, Manna in the Wilderness ; 22, Napoleon Presenting a 



GLAS 



155 




156 GODF 

Sword of Honor to the Sheik of Alexandria ; 28, The Song ; 30, 
Indian Scene. 

Corridor : 1. Amyntas and Sylvia (1760). 

Large Room: 21, Juno; 4, Don Quixote; 2, Venus in the 
Forge of Vulcan ; 13, Dogs, a study ; 7, Dog and his Companion ; 
6, Venus bidding adieu to Juno and Ceres ; 11, Christ in the 
Sepulchre; 10, Louis XIV.; 15, Colbert; 12, Jupiter Pardoning 
Cupid ; 16, Dance ; 18, Marriage of Alexander. 

Godfrey of Bouillon (bool-yoiV), b. at Boulogne, France. In 
1096 he led the first Crusade to the Holy Land, and after the cap- 
ture of Nicea, Antioch, Edessa, and Acre, took Jerusalem, 1099. 
Being proclaimed King of Jerusalem, he reigned one year, dying 
in 1100. Statue in Brussels. 

Gothard, San, Road and Pass. See Route 25. 

G©y'-en, Jan van, 1596-1656, b. at Leyden. One of the 
best Dutch landscape and marine painters of his time. His 
works are characterized by a pervading low tone of color, which 
in his sea pieces, gives the water the heavy gray often seen off 
the Dutch coast. This style of color prevailed to a considerable 
extent among other painters during and after his time. His 
works, both as to accuracy of drawing and a faithful delineation 
of nature are those of a master hand. 

Principal Works: Augsburg, 569, 585. 5S6; Belv., one; Berlin, 865 D ; 
Dresd., 1131; Frank., 173 A; Hermit., 1120, 1129 ; Lille, 245; Louvre, 181-4 ; 
Munich, 1378, 1417; Rijks, 121, 122. 

Grazie, S. Maria delle (grat'-zee-a), ch., Milan, on the ex- 
treme w. margin of the city. Noted particularly for the **Last 
Supper, by da Vinci, in the Refectory adjacent. See Last Supper. 

Grindelwald (Glaciers), Switz.; amid the Bernese Alps, about 
12 miles from Interlaken. Excursions from Interlaken 10 hrs. ; 
1 hr. carr., 16 fr. ; 2 hr. carr., 30 fr. (May be combined with the 
excursion to Lauterbrunnen, the falls of the Staubbach, and the 
Wengern Alp ; 2 days. ) The route lies amid the most magnifi- 
cent Alpine scenery and affords unequalled views of the Jungfrau. 

The great attraction at G-rindelwald is its proximity to the two 
glaciers, the Lower 40 min. walk from the village, and the Upper 
1 hour ; chair 6 fr. The peak to the r. is the Eiger, 13,040 ft. ; 
that between the glaciers, the Mettenberg, 1 0,200 ft. ; that to the 
1. the Wetterhorn, 12,162 ft. The Upper Glacier, though less 
extensive than the Lower, is of greater interest, as the ice is 
purer, and, being less covered with debris, affords a more satis- 
factory view, and the grotto displays a richer color. 



GROT 



15? 



Grotto of Sejanus and Grotto of Posilipo, Naples, two 
tunnels through the ridge on the n. w. of the city ; the first excav- 
ated B.C. 37, the latter in the reign of Augustus. Of little interest. 

Gubbio Ware. See Pottery. 

Guercino (gwer-chee'-no), Gio. Fran. Barbieri, 1591-1666; 
b. at Cento, near Bologna. Chiefly self-taught ; works are bril- 
liant in color, life-like, shadows 
frequently heavy. His early style 
exhibits greater power than his 
later. The Nat. Gall, has a fine 
Dead Christ. His masterpiece is 
St. Petronella, in the Pal. of the 
Conservators at Rome. 

"Of a superficial character, but painted 
in a masterly manner." — Kugler. 

His works number 250, besides 

frescos. 

Pkincipal Works : Bolog., 12, 13 ; 
Borgh., VI. 1,5; Brera, 328 ; Cap., 13, 17, 
31,143; Dresd., 506-8-9-10-11-12; Her- 
mit., 239, 240-1 ; Liecht , II. 35 ; Louvre, 
40-2-6-8-9, 51 ; Madrid, 249, 254 ; Naples, 
Sala Correggio, 15 ; Nat. Gall., 22 ; Pitti, 
99; Turin, 239, 242; Uffl., 1114, 1137; 
Tat., three. 

Guido Reni (g wee-do ray- 
nee), 1575-1642, b. at Bologna; 
studied in the school of the Car- 
racci. Going to Rome he gained, 
under the influence of the works of Eaphael and Caravaggio, a 
style of great excellence for its grace and sentiment. He remained 
in Rome 20 years, when he returned to Bologna, where he passed 
the remainder of his life. Given to expensive habits, he painted 
numerous inferior pictures for dealers. Many of his Magdalene 
also exhibit a monotonous similarity of drawing and expression. 

His important works, however, place him among the first 
modern masters. His Aurora, in the Rospig. Pal., and the Cru- 
cifixion of St. Peter, in the Vatican, are regarded as his master- 
pieces. See Aurora. 

"The progressive development of G-uido was singular in its kind, for its period 
was marked by works very dissimilar in style. Those of his early time have an 
imposing, almost violent character — grand, powerful figures, finely arranged with 
deep shadows. . . . At a subsequent time this fondness for the powerful be- 




st. Petronella — Guercino. 



158 GUIL 

came moderated, and a more simple and natural style of imitation succeeded. 
. . . G-uido's works during this transition are distinguished by an agreeable 
warmth of color. ... In the later part of his life Guido often painted with 
careless haste ; he had given himself up to gambling, and sought to retrieve his 
immense losses by raising money as rapidly and easily as he could. At this time 
chiefly were painted the numerous Madonnas, Cleopatras, Sibyls, etc., which are 
to be found in every gallery ; some of these, however, are among his most careful 
and charming works." — Kugler. 

Principal Wokks : Bel., four; Berlin, 373 ; Bolog., 134-5-6-7-S-9, 140-1-2; 
Borgh., IV. 20 ; Brera, 321 ; Cap., 116; Corsi, IV. 11, 19, V. 37-8-0; VIII. 13; 
Doria, I. 45 ; Dresd., 470, 472-3-4-0-8-0 ; Dul., 331, 339 ; Edinb., 87, 384 ; Hermit., 
181-3-4-5-6-7, 191; Liecht., II. 19, 23, III. 68. 75-6, V. 455; Louvre, 318-19-20- 
1-4-5-7; Madrid, 259, 260-1 ; Modena, 149; Munich, 527; Naples, 7, 9,44; Nat. 
Gall., 177, 193, 214, 271; Pitti, 17S; Pesth, VIII. 252; Turin, 235-6; Uffi., 203, 
998, 1113; Vat., one. 

GuildhaH (gild-), London, Cheapside and King Sts.; the City 
Hall, 1411 ; destroyed by fire, 1G66 ; rebuilt, 1789 ; restored, 18G8. 
The Great Hall, 158 feet long, 48 wide, and 55 high, contains 
mons. to Chatham, Wellington, Nelson, and Pitt. 

The Museum on the lower floor contains various antiquities of 
Roman and Meliasval times. 

Gut a, Legend of (goo'-tah), Gutenfels. 

At a notable tournament at Cologne, an imknown knight from Britain won 
the regard of Guta, the beautiful sister of the Count of Falkenstein. He swore 
fidelity to her and promised after three months to return, and declare his name 
and publicly sue for her hand. Five months elapsed and the knight had not re- 
turned and Guta was overcome with sorrow. Meantime the country had been 
distracted by the rival claimants for the crown, Alphonso of Spain, and Richard, 
brother of Henry III., of Eng. Richard, having succeeded, was crowned at Aix- 
la-Chapelle. One morning a brilliant cortege approached the castle of Falken- 
stein. The Count recognized the English knight, who thus addressed him : ' I 
am come to ask the hand of your sister, the Countess Guta.' Guta being calied, 
flew into the arms of her long-lost knight, when he said : ' I am Richard, your 
chosen Emperor, I am come to ask you to a seat beside me on the throne.' Thus 
Guta became the Empress, and the Count, from his love of her, called his castle 
Gutenfels. 

Ha-dri-an, Pub. Aelius. Rom. Bmp. from 117-138 ; b. at 
Rome, A.D. 76. Married Sabina, the grand-niece of Trajan ; at- 
tended Trajan on his military expeditions, and on his death suc- 
ceeded him. He spent thirteen years in visiting the provinces of 
the empire ; built a wall 80 miles in length in Britain, extending 
across the island (from Newcastle to Carlisle) ; died at Baia3 
at the age of 68. His reign is regarded as one of the happiest in 
Roman history. 

Hadrian j, Tomb of, Rome. See Angelo, St., Castle of . 

Hadrian's Villa. See TivoK 



HAGU 159 

Hague, The, Butch, s' Gravenhage, or S. Hage ; Ger., der 
Haag; Fr., La Haye {The Count's Hedge) ; pop. 120,000; is one 
of the finest, cleanest, and most attractive cities of Holland. Its 
streets are bordered with trees, and its numerous well-kept and 
shaded parks abound with canals, ponds, and miniature lakes. 
The surface is that of an utter level, although one of the parks is 
designated Vijvcrberg, Fishpond Hill, and the water of the canals 
is given motion only by the aid of a steam pump. 

The chief attraction is in the city itself, its charming streets 
and residences, its parks and villas, rather than in definite locali- 
ties or buildings. Among these latter are : 

The Royal Museum. See Part II. , Hague, p. 441. This picture 
gallery contains among its masterpieces Rembrandt's School of 
Anatomy, Paul Potter's Young Bull, and Jan Steen's Family, by 
himself. 

The Binnenhof, or Parliament House, on the s. side of the Vij- 
verberg was formerly the palace of the Count In the centre is 
the Gothic Hall, the oldest building in the city, noted as being 
the place of the execution of the Grand Pensionary Barneveld, 
1618. The scaffold stood directly opposite the door. Near by is 
the prison, the Gevangenpoort, where the de Witts, confined on the 
false charge of conspiracy, were seized and literally torn in pieces 
by an infuriated mob. 

The Netherlands Museum, 71 Prince Gracht. daily, 10-4, con- 
tains an interesting collection of historic relics. 

Scheveningen, the notable watering-place, 3 mis. dist., maybe 
reached by canal, steam, or horse tramway ; a most charming ex- 
cursion either way. Sand hills hide the sea till immediately upon 
it. Here Ch. II. embarked for Eng. upon the Restoration. In the 
bathing season the beach, the variegated costumes of both visitors 
and bathers, and the numberless beach-chairs and bathing " ma- 
chines " present a panorama full of novelty and interest. 

Museum. See Part II. Hague. 

Halles Centrales (hal-cen-tral), Paris. Central market, a 
short distance e. of Place Royal, consisting of 12 iron pavilions, 
and is to cover nearly 20 acres when fully completed. This place 
was occupied as a market as early as the 10th cent. 

Hals, Frans (hahls), 1584-1666; b. at Mechlin, Hoi Little 
is known of the life of Hals, beyond his being a merry fellow, 
and fond of bacchanalian sports. In art he was the first Dutch 
master who gave his works the free, bold treatment which 



160 HAMP 

characterizes the later Dutch School. Among his pupils were 

Brouwer, Ad. van Ostade, and D. van Balen. 

'"His works are characterized by extreme liveliness of conception, clearness of 
coloring, and a breadth and freshness of touch such that his later works appear 
designed as well as painted by the brush alone." 

His free mode of life kept him in want, which often caused 
him to hurry off his pictures to replenish his purse. 

"Hals was obviously the model which the great Dutch school directly or indi- 
rectly followed, and he thus assumes a significance in the history of art which has 
never been sufficiently acknowledged. 1 * — Kugler. 

Principal Works : Ant., 188; Belv., one; Berlin, 766-7, 800, 801-A-B-C-B- 
E-F-G-H; Bruns., 119; Bruss., 415 ; Cassel, 222-4-5-6-7-8 ; Dresd., 938, 940, 
2368, 2485; Frank., 158-9, 160; Hermit., 770-1-2-3-4; Liecht., 150; Louvre, 65, 
66, 190 ; Munich, 311 ; Nat. Gall., 1021 ; Pesth, XV. 6£6 ; Bijks, 134-5-6 ; Rot- 
terdam, 77. 

Hampton Court. See Part II., Hampton Court. P. 442. 

Hannibal, Carthaginian General; b. B. c. 247. In 218, he 
marched his army from Spain for Italy, making the passage of 
the Alps, probably by the Little St. Bernard, and defeated the 
Komans successively at the Ticino, 218, Route 44 ; at the Trebbia, 
218, Route 42; at Lake Trasimenus, 217, Route 50; and at 
Cannse, 217. Thence he went to Capua, Route 55, and remained 
in Southern Italy 14 years ; the Romans avoiding battle, but en- 
deavoring to cut off his supplies and harass his army. Mean- 
time the Romans having sent a second army to Carthage, Han- 
nibal was called home, where he met the invading army under 
Scipio and suffered a complete defeat at the battle of Zama. 

Hapsburg, House of, founded by Rudolph I., b. 1218, who 
was elected Emp. of Germany and King of the Romans, 1273, 
since which time the family has occupied the imperial throne of 
Austria. 

Harz Wits, (hartz), the most northern range of Germany, 
lying between Leipsic and Hanover, and extending about GO 
miles. 

Havre (hah'-vr; harbor), the port of Paris, at the mouth of 
the Seine ; pop. about 100,000; is one of the principal commer- 
cial cities of France ; was founded by Louis XII. , 1509 ; fortified 
by Francis I., 1516; occupied by the English, 1562; bombarded 
by them, 1678 and 1759. Birthplace of Mad. Lafayette and Ber- 
nardin de St. Pierre. Has little of interest except its extensive 
docks. 

He'- be, myth, goddess of youth ; daughter of Jupiter and 



HEID 



161 



Juno. She waited upon the gods and filled their cups with 
nectar ; married Hercules. 

* Heidelberg (hi- ; huckleberry Ml), Oe?\, most delightfully 
situated in the narrow valley of the Neckar, at its junction with 
the valley of the Rhine. It became the seat of the government 
of the Palatinate, 1228, and so remained for five centuries. At 







3 We77 J "]. ' 






Heidelberg Castle. 



■^t 



present it is attached to the Gd. Duchy of Baden. Being an im- 
portant position, as commanding the valley of the Neckar, a 
stronghold was erected upon the side of the Konigsstuhl Mountain 
in the 10th cent., as the seat of the Electors. 

** The Castle, the seat of the Palatinate, was commenced in 
the 13th cent, and enlarged and strengthened by successive Elec- 
tors in the 14th and 15th cents., until it became one of the most 
11 



162 HELE 

impregnable fortresses of Europe. It was blown tip by the French, 
1689, in violation of the stipulations; in 1693, entirely dis- 
mantled ; in 1764, it was struck by lightning, which nearly com- 
pleted its destruction. As it now stands, it is one of the most 
magnificent ruins of Europe. No description can convey an ade- 
quate impression of the strength or extent of the fortress, and as 
a guide always accompanies the visitor, it is only necessary to 
indicate the chief points of interest — the Fountain, with columns 
from the Palace of Charlemagne ; the Chapel, the G-reat Tun, the 
Fireplace, the Blown-up Tower, and the G-reat Balcony. 

Among the favorite resorts commanding fine views of the city 
and surroundings are the Molkencur, at an elevation of 200 ft. 
above the Castle, and the Konigsstuhl, 700 ft. higher still, with a 
tower which commands an *extensive view of the Valley of the 
Neckar, the Rhine, and the adjacent mountains. 

* The Philosopheniceg is a delightful walk, 2 mis. in length, upon 
the hills on the opposite side of the river. The University, 
founded 1336, is situated in the midst of the town, and possesses 
no buildings commensurate with its reputation. 

Routes : To Cologne by rly., 6 hrs., $6 ; $4.50 ; see Route 21, Heid. to May- 
enee, thence via Itoute 20, Mayence to Cologne. To Hayence, 2 hrs., $1.80: 
$1.25; see Eoute 21. To Fkankfort, 2 hrs., $1.50; $1; sec Route 21 lo 
Darmstadt. To Bale, 6 hrs., $5; $3.40; see Route 22. To Munich, 10 hrs., 

$7.25 ; $4.75 ; see Route 56. 

Helena, St., Flavia Julta, mother of Constantine, said 
to have discovered the Holy Sepulchre and the True Cross at 
Jerusalem. Entombed in the Ch. of Ara Coeli, Rome. 

Helvetia (hel-vee'-she-ah), the n. w. portion of Switzerland, 
lying between Lakes Geneva and Constance, and the Jura range. 
B.C. 107, the Helvetii defeated the Romans and killed the Con- 
sul, L. C. Longinus, on Lake Geneva; 101, invaded Italy with the 
Cimbri, whose defeat caused their return ; in 58, under Orget- 
orix, they migrated in a body to the lands along the upper 
Rhone. Here they were met by Julius Caesar, defeated, and 
compelled to return to their own country, and gradually adopted 
Roman manners and life. 

Henry IV., of France, born at Pau, 1553; married the 
daughter of Henry II. , and on the death of Henry III. inherited 
the throne. With a view to put an end to the religious wars of 
France he yielded to his friends and abandoned the Protestant 
for the Catholic faith. After 22 years' reign he was assassinated 



HENR 163 

in the streets of Paris by a religious fanatic. His body lay in 
state in the same room in the Louvre (Salle de Goujon) in which 
his nuptial festivities had been celebrated. By his second wife, 
Marie de Medicis, he had six children, one of whom, Henrietta 
Maria, afterward became Queen of Chas. I, of Eng. 

* Henry IV., Statue of, bronze, equestrian, upon Pont Neuf, 
Paris. A statue was erected here in 1635 by the widow cf 
Henry IV., Marie de Medicis, the bronze horse for which had 
been sent her from Florence by her father. In the revolution of 
1792 the statue was destroyed and cast into cannon. In 1818 
the present statue was erected in its place by Louis XVIII. On 
either side are reliefs of Henry distributing bread, and proclaim- 
ing peace at Notre Dame. 

Henry VIII., of Eng., b. at Greenwich, 1491; succeeded to 
the throne, 1509 ; married Catherine of Aragon, his brother's 
widow, 1509. In 1527 he moved for a divorce of Catherine, 
which was pronounced by Cranmer, but annulled by Pope Clem- 
ent VII. Henry, however, married Anne Boleyn, dissevered the 
Eng. Ch. from the Papacy, and dissolved the monasteries. 

Having a passion for Jane Seymour, Anne Boleyn was tried 
and beheaded, and Jane Seymour became Queen the next day. 
She lived, however, only eighteen months, leaving a son two days 
old. A month after, he desired Francis I. , of France, to send 
some of the handsomest ladies of his kingdom to Calais, where 
he would make selection. Francis declining, two years passed, 
when Cromwell, one of Henry's privy council, recommended 
Anne of Cleves. They were married, but the King was soon dis- 
gusted, Cromwell beheaded, and Anne divorced. Soon after he 
married Catharine Howard, but finding she had been unfaithful, 
he caused her to be beheaded, and married Catharine Parr, who 
survived him, his death occurring, 1547. Entombed in St. 
George's Chapel, Windsor. In the latter part of his life he be- 
came tyrannical and executed every one who opposed him — the 
number amounting during his reign to 72,000, according to Hol- 
linshed. 

He left three children ; Mary, dau. of Cath. of Aragon ; Eliza- 
beth, dau. of Anne Boelyn ; and Edward, son of Jane Seymour. 

Her-cu-la-ne-um, beneath modern Resin a ; 4 mis. from 
Naples, may be reached by rly. or by carriage on the way to Vesu- 
vius or Pompeii. As, however, it is buried to the depth of a 
hundred ft., and can be seen only by the light of a lamp, it pos- 



164 



HERC 



sesses little interest compared with Pompeii. The discovery of 
Herculaneum occurred in 1719, when, in the digging- of a well, 
at the depth of 90 ft. the Amphitheatre was reached. Owing, 
however, to the fact that the material in which it is imbedded is 
lava rock, and that the modern town of Resina is directly over the 
ancient city, excavations have been attempted but to a limited 
extent, uncovering only the Amphitheatre, Basilica, Forum, and a 
few dwelling-houses. The works of art found, however, were both 
numerous and of the greatest value. Here were also found the 
Papyrus rolls of the Museum at Naples. 

Her'-cu-les, Heracles, myth, son of Jupiter. The twelve 
Labors of Hercules are : I. Slaying the Nemean Lion ; II. Slay- 
ing the Lernaean Hydra ; TIL Capture of the Arcadian Stag ; 
IV. Slaying the Erymanthian Boar ; V. Cleansing the Augean 

Stables ; VI. Destroying the Stym- 
phalian Birds ; VII. Capture of the 
Cretan Bull ; VIII. Capture of the 
Thracian Mares ; IX. Seizure of 
the Girdle of the Queen of the 
Amazons ; X. Capture of the Ery- 
thean Oxen ; XI. Getting the Gol- 
den Apples of the Hesperides ; XII. 
Bringing Cerberus from the Lower 
World. 




Statues : Berlin, 53, 70, 110, 241, 761, 
1019 : Br. Mu., 141 head, 142 ; Borgh. Villa, 
IV. 9; Cap., III. 3, basalt; Glyp., 54; 
Louvre, * ( ); Naples, IS, 119; Torlo., 
23, 34, 54, 296; Vat. (Ch.), Ill, 142, 151, 
294, 367, 565, *636, 693, 732 ; (P. C), 3, 
to>o. 134, 137, 208, 213, 256, 544, 565. 

Hercules, Farnese, stat., 
Nat. Mus., Naples, by Glycon of 
Athens ; colossal, with his lion skin 
and club, and in his right hand the 
apples of the Hesperides. Found 
in the Baths of Caracalla. The legs were not found till 20 years 
after the rest of the statue. 

Hermann, Count of Stahleck. Legend. 

A war having arisen between the Count and Arnold, the Abp. of Mayence, the 
latter induced the chaplain of the Castle to act in his behalf, who thereupon re- 
fused absolution to the Countess unless she should induce the Count to cease the 
war. 



Hercules — Naples. 



HEYD 165 

Failing in this attempt, the chaplain procured two assassins, who, enlisting in 
the Count's service, succeeded in murdering him and bringing his head to the 
chaplain in the castle. The Countess having been informed by a trusty attend- 
ant, rushed into the chaplain's room and plunged a dagger into his heart. Over- 
come with sorrow, she became insane and at last threw herself from the walls of 
the castle upon the precipitous rocks below. 

Soon after the people arose and put Lhe wicked Archbishop to death. 

Heyden, Jan van der, Heyde, 1637-1712, b. at Govin- 
c7tem, Hoi. Architectural subjects, palaces, churches, Dutch 
towns, with canals. His paintings are admirable in finish, color, 
and composition. 

Hilda's Tower (of the "Marble Faun"), the Torre delta 
Scimia ; a low mediaeval tower in the Via dell' Orso, No. 18, 
Rome. 

Hobbema, Meindert, 1638-1709, b. at Amsterdam, pupil 
of Salomon Ruysdael. He divides with Jacob Ruisdael the honor 
of being the best Dutch landscape painter. He is fond of sun- 
shine, his color is warm, his foliage exquisite. Subjects are broad 
fields, meadows with pools, and particularly watermills, ruins 
rarely. His pictures now bear high prices, one recently having 
brought $16,000. 

Hogarth, William, 1697-1764, b. in London; applied him- 
self with indifferent success to portraits ; but his satirical works, 
"The Harlot's Progress," "The Rake's Progress," and "Mar- 
riage a la Mode," soon gave him a place among the masters. The 
Marriage a la Mode, six pictures, is in the Nat. Gall. , London. 

" England did not produce a first-class master of genre until the 16th cent, 
when such a one appeared in Wm. Hogarth." 

Holbein, Hans (hahns hole-bine), 1460-1523, Ger. Known 

as the "Father." Executed large numbers of pictures for 

churches in Nuremberg, Augsburg, Munich, Frankfort, and Bale. 

His best works are in the Cathedral, Augsburg. 

Principal, Works: Augsburg, Nos. 25-6-7,84-5-6, 683-4-5; Bale, 1; Bel v., 
one; Frank., 76, 82; Munich, 15, 16, 1? ; Nuremberg, 5, 6, 49, 50. 

Holbein, Hans, Yr., 1497-1543, b. at Augsburg, Ger. The 
Augs. Gall, has 4 compositions executed at the age of 15. In 
1516 he removed to Bale ; the next year he went to Lucerne to 
decorate a house ; in 1521 he was commissioned to decorate the 
Rathhaus or Town Hall at Bale ; went to London, 1526, and 
entered the service of Henry VIII. about 1530. In 1536 he 
painted the portrait of Sir Richard Southwell, now in the Uffizi. 
Among his other notable pictures, are the Jane Seymour, in the 



166 



HOLB 



Belvedere Gall. , Vienna ; Thomas Moritt and a Madonna, in the 
Dresd. Gall.; Anne of Cleves, now in the Louvre, which Henry 
VIII. is said to have liked better than the original whom he had 
married ; and the celebrated *Madonnas of Darmstadt and Dres- 
den. 

Holbein has also been considered the painter of the Dance of 
Death in Bale and Berne. It is probable that the designs were 
furnished by Holbein, as he engraved on wood 53 sketches of the 

Dance of Death, but not that 
they were painted by him. He 
also engraved 90 illustrations 
of the Old Testament. His 
pictures are characterized by 
hard faces and dark back- 
grounds. 

He died of the plague in 
London, 1543, aged 48, and is 
buried in the church of St. 
Cath. Cree ? 

"He is not only one of the most 
precocious geniuses in the history of 
Art, appearing as an excellent painter 
in his eighteenth year, but he also 
belongs to the few painters of the 
North who were imbued with the 
qualities of the Italian school, and 
at the same time developed them in 
an independent manner. He is the 
sole northern painter of that day, not 
even excepting Diirer, who attained 
to a free, magnificent style, broke 
away from the wretchedly depraved taste of his contemporaries, and portrayed 
the human form in all its truth and beauty. 

" His numerous portraits, in delicacy of conception, incomparable smoothness, 
and unsurpassed truthfulness in the delineation of life, noble simplicity and ex- 
quisite finish, united with superb freedom of treatment, take rank among the 
best productions in this department.'" — Liibke. 

' ; Holbein may justly be considered of all the German masters, the one most 
fitted by nature to attain that supremacy of art in historical painting which the 
works of his great Italian contemporaries Raphael, del Sarto, and others dis- 
play. ... In portrait-painting, to which his powers were especially devoted, 
he stands on a level with the greatest masters." — Kugler. 

Principal Wobks : Ant., No. 198 ; Bale, 2, 3, 4, 5, 6, and a series of 23 pic- 
tures, from Nos. 7-35, early works, executed perhaps with the assistance of his 
father and brother ; Belv., seven ; Berlin, 586-B-C ; Boigh., XII. 20 ; Bruns., 9, 
10?; Bruss., 19; Darm., 226; Dresd., 1809-10 ; Frank., 83, 83A; Hague, three; 




Madonna — Holbein. 



HOLY 107 

Hamp. Ct., 559, 5G3, 502-0-4-7-8, 603-6-8-10; Hermit., 4(55'? ; Louvre, 206-7-8- 
iO-il-12-13; Munich, 97?; Parma, 355?; Pitti, 223?; Turin, 386: Uffi., 765; 
Venice, 266 ? 

Ho-ly-rood Abbey and Palace, Edinburgh, on the eastern 
margin of the city. Daily ex. Sun., 11-3, 6d. ; Sat., free. 

The Abbey, including a chapel, cloisters, and royal apartments, 
was founded by David I., 1 128 ; sacked by Ed. II., 1322 ; burned 
by Richard II., 1385; restored at the end of the 15th cent.; 
nearly reduced to ruins by the English, 1547 ; sacked by a mob, 
1688. What remained of it was restored 1758. Fourteen years 
later the entire roof of the chapel fell, in which condition it now 
remains . 

* The Chapel. Here Ch. I. was crowned ; and here were 
married James II., III., IV., Queen Mary and Lord Darnley; 
and here were entombed in a vault in the corner at the right, 
David II.; James II. and Queen ; son of James IV.; Queen and 
2d son of James V.; and Lord Darnley. Mary Queen of Scots 
is entombed in Westminster Abbey. As the royal tomb was 
desecrated by the mob, 1G88, it is not known what royal remains 
are now entombed within. 

The Palace. — The rooms open to the public, 11-3, are the 
Tapestry Room, Lord Darnley's Rooms, The Picture Gallery, and 
Queen Mary's Apartments. 

Tlie Picture Gallery contains about 100 imaginary portraits of 
Scottish Kings by a Flemish painter, De Witte, 1684. 

Queen Mary's Apartments, on the 2d floor, include the Audi- 
ence Chamber, the Bed-chamber, Dressing, and Supper Rooms. 

The Audience Chamber with ancient tapestries and embroidered 
chairs, contains the bed occupied by Chas. I. when residing in 
Holyrood, and by his unfortunate descendant, Prince Chas. Ed., 
and, also, after the battle of Culloden, by the Duke of Cumber- 
land, his conqueror. This room is the place of the historic in- 
terviews between Queen Mary and John Knox. 

* Queen Mary's Bed-chamber adorned with emblems and 
initials of Scottish Sovereigns and with the portraits of the 
Queen, Henry VIII. , and Elizabeth. The bed, the hangings, the 
fringes and tassels are those of the Queen, and remain nearly as 
when the room was last occupied by her. At the foot of the bed 
is the door leading to 

* Queen Mary's Supper Room, the small private apartment 
where the Queen was seated with a few friends when the King 



168 HOND 

and the conspirators rushed in for the assassination of Rizzio. 
Adjacent is a small door leading to the secret stair by which they 
gained access to the Queen's private apartments. 

The Dressing Room is a small chamber, containing 1 no relics and 
of little interest. 

"About seven in the evening Mary was seated in the little room in the north- 
west turret, at one of those small supper parties, in the easy cheerfulness of 
which she took especial pleasure. Suddenly the King entered the closet in 
which Mary was seated, and, placing himself by her side, threw his arm in an 
affectionate manner round her waist. In another instant Lord Ruthven stalked 
into the apartment, and immediately after several others with torches, s\vords v 
and daggers, overthrowing the table in the confusion. The table fell upon the 
Queen, whereupon Ruthven, brandishing his dagger, exclaimed, ' No harm is 
intended to you, madame, but only to that villain.' 

" The unfortunate Rizzio, who saw that his life was aimed at, sprang behind 
Mary, and, clutching her gown, cried, ' Save my life ! 1 The conspirators pressed 
forward, and, while Darnley strove to unfasten Rizzio's hold of the Queen's per- 
son, Ker, a brutal borderer, presented a pistol to her bosom, threatening to fire 
if she made unnecessary resistance. While Darnley detained the Queen, Douglas 
snatched the King's dagger from its sheath, and, stabbing Rizzio with it over 
Mary's shoulder, left it sticking in his body. The conspirators then dragged the 
wretched secretary furiously through the bed-room and ante-chamber, stabbing 
him as they went, till he fell at the head of the staircase, outside the door of the 
ante-chamber, pierced by fifty-six wounds. 

" Mary, in the meanwhile, sat trembling in the turrret, till one of her ladies 
brought her intelligence that Rizzio was slain." — Hist, of Holyrood. 

Hondecoeter, Giles (hon-deh-koo-ter) ; son, Gysbrecht ; 
grandson, Melchior. The latter is the most celebrated ; 1636- 
1695, b. at Utrecht. Distinguished as the painter of birds, par- 
ticularly domestic fowls. 

"No one ever painted cocks and hens, ducks and drakes, and particularly 
chickens, so admirably as Melchior Hondecoeter. He understands these families 
as thoroughly as the Italians their Holy Families, and expresses the maternal love 
of the hen as admirably as Raphael has done in the case of his Madonnas. . . . 
Of the eight pictures by Hondecoeter in the Museum of Amsterdam, ' The Floating 
Feather ' is the most famous. The faintest breath of wind would blow it away."' 
— Burger. 

Honthorst, Gerard (hon'-torst'), 1590-1656, b. Utrecht, 
Hoi. ; pupil of Bloemart ; subjects various ; sacred and profane 
hist. , myth. , genre, and particularly night scenes. Went to Eng- 
land on invitation of Ch. I., but remained only six months. Works 
are found in all the large collections. 

Hooghe, Peter de (ho'-geh), Hooche, Hoogh, Hooge, 
1632 ?-16Sl ? Hoi. His works, of which 100 are known, are dated 
1658-1670. His subjects are interiors, court-yards, and gardens. 
His sunlight, both in landscape and interiors, is unsurpassed. 



HORS 169 

Horse-Cars, or Tramways, as they are usually called, are 
in general use in all the large cities of Europe. In London 
and Paris they are principally from certain central points to the 
suburbs, and not through the heart of the city. 

In the Netherlands, Germany, Denmark, Sweden, Russia, and 
Austria, the cities are well supplied with tramways. In Italy 
they are at present in use in Turin, Milan, and Naples The 
cars usually have definite stopping-places, every three cr four 
squares, and the fare is proportionate to the distance, rendering 
it necessary to inform the collector, before he will receive the 
fare, of the place at which the passenger intends stopping. 

Hotel cle Cluny, Paris. See Musie des Thermes. 

*H6tel de Ville (-deh-veei), Paris, Rue de Rivoli, \ ml. e. of 
the Louvre. Its erection was commenced 1533 ; completed by 
Henry IV., 1628. It was rectangular in form, 330 by 276 ft. Its 
numerous niches contained statues of the noted men of France ; 
its salons were adorned with regal magnificence, and the domes- 
tic arrangements so extensive that a banquet could be served for 
a thousand guests. Here Louis XIV. married Maria Theresa. 

In 1789, on the destruction of the Bastille, the insurgents re- 
turned in triumph to the great hall ; three days later Louis XVI. 
was brought by a mob from Versailles to the same place. In 
1794 Robespierre was here attacked by Barras ; and, later, was 
found upon the stairs with a shattered jaw, from a futile attempt 
at suicide, whence he was carried to prison, and the day follow- 
ing, together with 21 of his companions, consigned to the guil- 
lotine, thus ending the ' ' Reign of Terror. " 

From the steps of the Hotel, Lafayette presented Louis Philippe 
to the public as the Citizen King, and Louis Blanc, in 1848, pro- 
claimed the Republic, and Lamartine delivered his celebrated 
speeches to the turbulent mob. 

In 1870-71 it was the seat of Government. The Communists, 
in anticipation of defeat, had filled the building with petroleum 
and gunpowder. Being attacked by the Government troops and 
gradually forced back into the building, those detailed for the 
purpose set the combustibles on fire, there being yet 600 of their 
own party in the building. Those attempting to escape were 
shot, the others perished with the building, which was totally con- 
sumed. It has since been rebuilt in all its former magnificence. 

In Place de V Hotel de Ville was formerly located the scaffold, 
and later the guillotine. In 1572, Cavagnes and Briquemont, 



170 HOTE 

Huguenot leaders, and in 1574, Comte Montgomery, who had acci- 
dentally caused the death of Henry II. at a tournament, were 
here executed by order of Cath. de Medicis. The guillotine was 
first used here ; so named from Dr. Guillotine, who recommended 
it as more humane than the gallows. 

*Hotel des I rival ides (-da-zan-va-leed), Paris, daily, fee|fr. 
to each guide. This home for old soldiers was established by 
Louis XIV., 1671, and contains accommodations for about 5,000. 
Entrance from the Seine, through the Esplanade des Invalides. 
The outer court is surrounded by a dry moat. Near the guard 
houses are many cannon, captured by Napoleon. A statue of 
Louis XIV. adorns the main entrance. On entering, the visitor is 
met by invalids detailed as guides to the courts, halls, and 
museum. 

The tomb of Napoleon is in the west part of the building, to 
visit which it is necessary to pass out at the entrance and go 
around the entire square to the south entrance. See Napoleon, 
Tomb of. 

Hotels. The average prices at first-class hotels are about as 
follows : 

France, Switzerland, and Italy: Plain Breakfast, 20-40 cts. ; 
with meat or eggs, 30-50 cts.; Dinner, table d'hote, 75 cts.-$l ; 
Supper, 20-40 cts. ; Attendance, 20-25 cts.; Light, 10 cts. Room, 
50 cts.-$l. Total, $2-$3.50, seldom falling much below the 
latter figure. 

For Belgium and the Rhine, add about one-fourth to the 
above. 

For Eng. , Scot. , Hoi. , Ger, , and Austria, add one-half. 

For London, Paris, Sweden, and Russia, the charges are nearly 
double the above. 

In all the great cities hotels may be found offering every style 
of luxury, at corresponding prices. 

Considering location, price, and comfort, the following houses 
will be found among the more desirable. St. signifies at or near 
the railway station : (1) prices high. 
Airolo, It. H. Posta; H. Airolo. | Amsterdam, Hoi. H.Amstel (1); Brack's 



Aix-la-Chapelle, Bel. H. Gd. Monarque. 
Aix-les-Bains, Fr. Gd. H. d'Aix, st. 
Albano, It. H. Roma (1); Ville de 

Paris (1). 
Altorf, Sw. Adler, Schliissel. 
Amiens, Pr. H. du Rhin, st. 
Amsteg, Sw, H. Stern ; Kreuz, and 

Hirsch. 



Doelen (1). 
Ancona, It. H. La Pace (1), on the 

quay. 
Andermatt, Sw. H. Bellevue (1). 
Audeer, Sw. H. Krone. 
Annecy, Pr. Gd. H. d'Angleterre. 
Antwerp, Bel. H. Europe (1) ; H. de 

la Paix. 



HOTE 



171 



Aosta, It. H. du Mont Blanc. 
Arezzo, It. H. Inghilterra ; Vittoria. 
Argentiere, Sw.. H. Conronne. 
Arnhem, Ger. H. Zon : Pays-Bas. 
Assisi, It. H. Leone; H. del Subasio. 
Augsburg, Bav. H. Victoria (1), 6t. ; 

Bayrischer Hof (1), fit. 
Ayr, Sc. H. King's Arms (1) ; Star. 
Baden. H. Victoria (1) ; Stadt Baden, 

St. 

Bale. Sw. H. Euler (1), St. : (Klein B.) 
Schreider, st. 

Baveuo, It. H. Beau Bivage (1) ; Belle- 
vue (1). 

Bedford. Eng. Swan H. (1); George 
H. (I). 

Belfast, Ir. H. Imperial (1). 

Bellaggio, It. Gd. H. Bellaggio. 

Bellinzona, Sw. H. Angclo : H. Posta. 

Bergamo, It. H. Italia. 

Berlin Pr. Kaiser Hof (1); d'Angle- 
terre. 

Berne, Sw. Schweizerhof, st. ; Berner- 
hof, st. 

Bingen, Pr. H. Victoria ; Bellevue. 

Birmingham, Eng. Gt. "W. Hotel (1), at 
G. W. st. 

Bologna, It. H. Bran (1); Pellegrino. 

Bonn. Pi-. H. Royal ; Bellevue. 

Boulogne, Fr. H. d'Angleterre (1). 

Bozen, Aus. H. Kaiserkrone (1) ; Vic- 
toria, st. 

Bradford, Eng. H. Talbot (1) ; George. 

Bremen, Ger. H. Europe. 

Brest, Fr. H. du Gd. Monarque. 

Brieg, Sw. H. d'Angleterre ; Trois 
Couronnes. 

Brienz, Sw. H. Croix Blanche. 

Brighton, Eng. Grand H. (1); Bed- 
ford H. (1). 

Brindisi.lt. H. East India, on the quav. 

Bristol, Eng. H. Royal (1) ; Grand H. 

Bruges, Bel. H. de Flandre; H. du 
Commerce. 

Brunnen, Sw. Waldstatter Hof ; A.dler. 

Brussels, Bel. H. de Saxe (1) ; Uni- 
vers (1). 

Calais, Fr. Station H. ; H. Dessin. 

Callander, Sc. Dreadnaught H. (1). 

Cambridge, Eng. H. Bull (1); Red 
Lion (1). 

Canterbury, Eng. Royal H. (1) ; Foun- 
tain H. (1). 

Carlisle, Eng. County H. (1) ; Royal. 

Carlsruhe, Pr. H. Erbprinz ; Germania, 
st. 

Castellamare, It. H. Royal, st. 

Chambery, Fr. H. de France, st. 

Cassel, Ger. H. du Nord, st. 

Chamonix, Fr. H. Imperial ; H. Royal ; 
H. d'Angleterre. 

Chatsworth, Eng. Chatsworth H. (1). 

Cherbourg, Fr. H. de l'Univers. 

Chester. Eng. H. Queen (1), st. 



Chiavenna, It. IT. Conradi. 

Clarens. Sw. H. Cretes, st. 

Coblenz, Pr. H. Bellevue ; Anker. 

Coire, Sw. H. Steinbock; H. Freieck, 

Colico, It. H. Angelo ; H. Isola Bella. 

Cologne, Pr. H. du Nord ; H. Victoria. 

Como, It. H. Italia ; H. Volta. 

Constance, Sw. H. Hecht ; H. Adler. 

Copenhagen, Den. H. d'Angleterre (1). 

Cork, Ir. Imperial H. (1) ; Commer- 
cial H. 

Cortona, It. H. della Stella. 

Coventry, Eng. Castle (1); Craven 
Arms (1 ) . 

Darmstadt, Pr. H. Traube ; H. Post. 

Delft. Hoi. H. Schaap (1); Den Bolk 

(1). 

Dieppe, Fr. H. Royal (1). 

Dijon. Fr. H. du Jura; H. de la 
Cloche. 

Dissentis, Sw. H. Condrau zur Post. 

Domo D'Ossola, It. H de la Ville. 

Dover, Eng. Lord Warden (1). 

Dresden. Sax. H. Victoria (1). 

Dublin, Ir. The Shelbourne (1); Eu- 
ropean. 

Dusseldorf, Pr. H. European, st. 

Edinburgh, Sc Royal (1); Balmoral. 

Empoli, It. H. del Sole. 

Exeter, Eng. Clarence (1) ; New Lon- 
don (1). 

Ferrara, It. H. Europa ; Stella d'Oro. 

Florence, It, H. New York (1); H. Chap- 
man. 

Fluelen, Sw. H. Urnerhof. 

Folkestone. H. Pavilion. 

Fontainebleau, Fr. H. de Londres ; H. 
de France. 

Frankfort, Pr. H. de Russie (1) ; H. 
d'Angleterre. 

Freiburg, Ger. Zahringer Hof, st. 

Fribourg, Sw. Zahringer Hof. 

Furca, Sw. Furca H. 

Gall, St.. Sw. H. Hecht (1); H. Lowe. 

Geneva, Sw. H. Metropole (1) ; H. de 
Russie : H. National. 

Genoa, It. H. de la Ville (1) : H. de 
France. 

Ghent, H. H. de Vienne (1) ; H. Royal. 

Giessbach Falls, Sw. H. Giessbach (1). 

Glasgow, Sc. St. Enoch's, St.; Cock- 
burn. 

Gloucester, Eng. H. Bell (1) : Albion (1). 

Hamburg, Ger. H. de l'Europe (1) ; 
Victoria (1). 

Hague, The. Hoi. H. Bellevue (1) ; H. 
Oude Doelen. 

Hanover, Pr. British H. ; Grand H. 

Havre, Fr. H. de l'Europe. 

Heidelberg, Pr. H. Schloss (1); H. 
Schrieder. 

Hospenthal, Sw. H. Meyerhof. 

Innsbruck, Aus. H. Goldene Sonne 
(1) ; Europe, st. 



172 



HOTE 



Interlaken, Sw. H. Victoria (1) ; Jung- 
frau (1). 

Inverness, So. Caledonian (1) : Station. 

Inversnaid, Sc. Inversnaid H. (1). 

Keswick, Eng. Keswick (1); Station (1). 

Killarney, Ir. Royal Victoria (1); 

Konisswinter, Pr. European H. ; Ber- 
lin H. 

Kufstein, Aus. H. Post; Auracher Brau. 

Kussnacht, Sw. H. Schwarzer-Adler. 

Lausanne, Sw. H. Bellevue ; H. Bel- 
vedere. 

Lauterbrunnen, Sw. H. Stembock. 

Leamingcon, Eng. Crown (1). st. 

Leeds, Eng. Gt. N. Rl. (1), st. ; Mid- 
land H. (1), st. 

Leghorn. It. H. Victoria (1) ; H. Wash- 
ington (1). 

Leicester, Eng. Three Crowns (1) ; 
Bell H. (1). 

Leipsic, Pr. H. Hanffj (1); H. de 
Russie (1). 

Liege, Bel. H. de Suede (1); H. de 
Paris, st. 

Lindau. Sw. Bayrischer Hof. 

Linz. Aus. H. Erzherzog Carl. 

Liverpool, Eng. H. Northwestern, st. ; 
Washington, st. 

Locarno, »It. Gd. H. Locarno, lake. 

London, Eng. Charing Cross (1) ; Jnns- 
of-Court (1) ; Grand (1). 

Lou vain, Bel. H. de Suede. 

Lucca, It. H. Croce di Malta. 

Lucerne, Sw. H. National ; Schweizer- 
hof. 

Lugano, It. H. Bellevue ; H. du Pare. 

Luino, It. H. du Simplon. 

Luxembourg, Hoi. H. de Cologne. 

Lyons, Fr. Gd. H. de Lyon. 

Macon, Fi*. H. de 1'Europe. 

Manchester, Eng. Queen's H. (1) ; Al- 
bion (1). 

Mannheim, Pr. Pfalzer Hof. 

Marseilles, Fr. Gd. H. du Louvre (1). 

Martigny, Sw. Gd. H. de la Poste. 

Mayence, Pr. Rhenish (1) ; H. de 
Hollande. 

Meiringen, Sw. H. Krone ; Sauvage. 

Melrose, Sc. Abbey H.; The George (1). 

Mentone, Fr. H. d'Orient (1). 

Metz, Fr. H. de Metz (1) : de Paris. 

Milan, It. Gd. H. (1) : Europa. 

Modane, Fr. International. 

Monaco, Fr. H. de Paris; Angleterre, 

Moscow, Rus. H. Dusaux (1) ; H. Billo. 

Munich, Bav. Leinf elder's (1); Mari- 
enbad : Four Seasons (1). 

Nancy, Fr. Europe ; d'Angleterre, st. 

Naples, It. H. Royal des Etrangers 
(1) ; Washington. 

Neuchatel, Sw. Bellevue, on lake. 

Newcastle, Eng. Station H. (1) ; Clar- 
endon (1). 

Nice, Fr. H. des Anglais ; H. Suisse. 



Norwich, Eng. Royal (1) ; Norfolk. 

Nottingham. Eng. Maypole (IV; Geo. 
IV. H. (1). 

Nuremberg, Pr. H. Strauss (1) ; Wiirt- 
temburg (1), st. 

Orleans, Fr. H. d" Orleans. 

Orvieto. It. H. Belle Arti. 

Ostend, Fr. H. Royal (1) ; H. de Franca. 

Oxford, Eng. Randolph ; Clarendon. 

Padua, It. H. Croce d'Oro. 

Paris, Fr. Continental (1) ; Grand (1) ; 
H. de Lille. 

Parma, It. H. Croce Bianca. 

Perugia, It. H. di Perueia. 

Peterborough. Eng. Gt. Northern (1), st. 

Petersburg, St. Rus. H. d'Angleterre. 

Pfaffers, Sw. H. Lowe ; H Taube. 

Piacenza, It. S. Marco. 

Pisa, It. Gd. H. Minerva, st. 

Pistoia, It. H. di Londra. 

Plymouth. Eng. Duke of Cornwall. 

Porlezza, It. H. du Lac. 

Portrush, Ir. H. Antrim Arms (1). 

Portsmouth, Eng. George (1); Foun- 
tain (1). 

Prague, Boh. H. d'Angleterre. 

Qneenstown, Ir. Queen's H. (1). 

Ragatz, Sw . Quellen Hof. 

Rapperschwyl, Sw. Schwan ; Poste, st 

Ratisbon, Pr. H. Goldenes Kreuz. 

Ravenna, It. Gd. H. S. Marco. 

Rigi, Sw. Rigi Kulm ; Schreiber. 

Ripon, Eng. Unicorn ; Crown. 

Rochester, Eng. Buli ; Crown. 

Rome, It. H. Costanza (1) ; H. de Paris. 

Rotterdam, Hoi. Bath H. (1) ; Vic- 
toria H. (1). 

Rouen, Fr. hi. d 1 Albion (1), quay. 

Sallenches, Sw. H. Bellevue. 

Salzburg, Bav. H. Europe ; Nelboeck. 

Samaden. Sw. H. Bernina ; H. Alps. 

Sarnen, Sw. H. Goldener Adler. 

Schaffhausen, Sw. Krone ; du Rhin, st. 

Sheffield, Eng. Victoria (1); Royal (1). 

Sorrento, It . La Sirena ; H. del Tasso. 

Southampton, Eng. Radley(l); Royal. 

Splugen, Sw. Bodenhaus. 

Stirling, Sc. Golden Lion (1) ; Royal (1). 

Stockholm, Swe. H. d'Angleterre. 

Strassburg, Pr. H. de Paris ; d' Angle* 
terre, st. 

Stratford, Eng. Red Horse (1) ; Shake- 
speare (1). 

Stuttgart, Pr. H. Marquardt ; Royal, st. 

Thun, Sw. Gd. H. de Thun, at quay. 

Thusis, Sw. H. Adler ; H. Via Mala. 

Toulon, Fr. Grand H. (1), st.; Victoria. 

Turin, It. Europa (1) ; Gd. H. Turin. 

TJlin, Bav. Russischer Hof (1), st. 

Utrecht, H. H. des Pays-Bas (1). 

Venice, It. Europa (1) ; d'Angleterre. 

Verona, It. H. de Londres. 
I Vevay, Sw. Monnet ; Gd. H. de Vevey. 
1 Vichy, Fr. H. de la Paix ; H. du Pare 



HOUD 173 



Vienna, A us, H. Metropole (1); Arch- 
duke Carl (1). 

Warsaw, Rus. H. Victoria (1) ; H. Eu- 
rope (1). 

Warwick, Eng. Warwick Arms (1). 

Wiesbaden, Pr. Adler (1); Rhein, st. 

Weimar, Ger. H. Erbprinz ; Russischer 
Hof. 



Wolverhampton, Eng. Swan (1). 
Worcester, Eng. Star and Garter (1) ; 

Crown (1). 
York. Eng. Harker's(l); Abbot's (1). 
Zug, Sw. Bellevue (1); H. de la 

Gare. 
Zurich, Sw. Baur (1), lake ; Bellevue 

(1), lake. 



Houdon, Jean Antoine (oo-dofi), 1741-1848, b. at Ver- 
sailles. He studied at Rome, remaining ten years. Upon his 
return to Paris he executed busts of Rousseau, Diderot, Mirabeau, 
Voltaire, and Dr. Franklin. Upon the invitation of the latter, 
Houdon visited America and took the casts from which he pro- 
duced the statue of Washington, now in Richmond, Va. 

Hours, Raphael's (so-called). A series of twelve pictures 
of light, airy figures in the Pompeian style, of exceeding grace 
and beauty. The origin of these pictures is altogether unknown, 
and though they are called Raphael's Hours, there seems not 
the slightest ground for connecting them with his name. 

The pictures appear to have been lost and are now known only 
from engravings. 

By some it is said they were copied by Raphael from the walls 
of a room in the Baths of Diocletian, since destroyed, and that 
the copies were afterward lost. By others it is believed they are 
copies of Pompeian pictures to which the name of Raphael was 
attached for the purpose of aiding their sale. 

Radcliffe observes : 

"It is asserted that they were painted in an inner room in the Vatican, now 
altered ; but Passavant rejects the idea of their genuineness, and insists they were 
engraved from mural remains of Pompeii." 

They were engraved in Italy, but the plates were for some 
years also lost, and a new engraving was executed in London. 
The Italian plates having been recovered, both sets are now ex- 
tant. It is currently supposed by travellers that the originals by 
Raphael are somewhere to be seen in Rome. 

* Bnterlaken (in'-ter-lah'-kn), Switz., situated midway be- 
tween the lakes of Brienz and Thun, 1 ml. from each ; has long 
been one of the most popular summer resorts of Switzerland, 
both on account of its agreeable temperature and of its fine 
scenery. It is also an admirable point from which to make ex- 
cursions to the various localities of interest near. 

The principal street, the * Hoheweg, which runs parallel with 
the Aare, and is lined with hotels and shops, commands a fine 
view of the Jungfrau and the Lauterbrunnen-Thal. S. side at 



174 INVA 

the upper end is a suppressed monastery (1130), portions of 
which are used as a hospital and a prison. The Schloss (1750) is 
occupied by the Government. Delightful walks abound, com- 
manding fine views of the valley and mountains. On the opp. 
side of the Aare rise the Harder and r. the Hohbuhl. Excursions 
may be made to the Schynige Platte, Lauterbrunnen, the Staub- 
bach, Meiringen, etc. Interlaken commands to the s. a fine *view 
of the Jungfrau, the most noted peak of the Bernese Alps, having 
an alt. of 13,672 ft., and being covered with perpetual snow. It 
was first ascended in 1811. Ascents are now frequent. See Alps. 

Boutes: To Berne, rly. and boat, 3 hvs., $1.20; $1 ; see Route 31. To Lu- 
cernk, boat and diligence, via the Briinig Pass, 9 hrs., $2.60 ; see Route 30. To 
Meiringen, boat and diligence, 3 hrs., $0.80 ; see. Route 30 to Brienz . To Lauter- 
brunnen and the Staubbach, 5 hrs., 1)4 m ^s. by carriage, $2.20 for the excur- 
sion. To the Grindelwald, see Grindehoald. 

Invalides, Hotel des. See Hotel des Invalides. 

lo (ee'-o), myth. , the dau. of the king of Argos ; beloved by 
Jupiter, who, to escape the observation of Juno, changed lo into 
a beautiful heifer. Juno, however, becoming informed, set the 
hundred-eyed Argus upon the watch ; whereupon Mercury, at 
the command of Jupiter, slew Argus, and, with a gadfly, tor- 
mented lo until she fled to Egypt, where she was restored to her 
original form, and bore a son to Jupiter. 

** Painting : Jupiter and lo, by Correggio ; one of the gems of 
the Belvedere, Vienna, as also of the Berlin Gall. The Berlin 
picture is a replica of that at Vienna, and, together with the Leda 
at Berlin, was formerly of the gallery of the Regent Duke of 
Orleans at Paris. Through a sentiment of surprising virtue, the 
son of the Duke cut out the heads of both lo and Leda and 
burned them, as being too voluptuous for ducal society, and cut 
the pictures into strips, which, however, were fortunately pre- 
served and purchased by Fred, the Gt. The head of lo was 
restored by Prud'hon, and that of Leda by Schleringer. 

Iph-i-ge-ni'-a. See Agamemnon. 

Ireland has an extent of about 300 mis. from n. to s. and 20G 
from e. tow. and consists of an extensive plain with numerous 
lakes, and several isolated mountains, which attain a height of 
less than 3,500 ft. It approaches to within 14 mis. of Scotland 
at the nearest point, and lies from 50 to 75 mis. from "Wales. The 
absence of forests gives the country a peculiarly barren and unin- 
teresting appearance, rendering a tour through the island more 



JAME 175 

agreeable if taken prior to visiting England and the continent 
It abounds in mildly pleasing scenery and localities of interest, 
but the tourist of limited time will find in the Lakes of Killarney, 
Cork, Dublin, Belfast, and the Giant's Causeway the principal 
places of interest (which see respectively). 

James I. of England, James VI. of Scotland, son of Mary 
Queen of Scots and Lord Darnley, b. 1566. On the resignation of 
Mary was crowned King of Scotland, and on the death of Queen 
Elizabeth succeeded to the crown of England. He established 
the Episcopacy in Scotland, executed Raleigh, and wrote many 
works in prose and verse. ' • Feebleness, indolence, vulgarity in 
tastes and pursuits, vanity, and pedantry were the prominent 
features of his character. " 

James II. of England, son of Charles I.; b., 1633. Suc- 
ceeded to the crown on the death of his brother Charles II. , and 
at once entered upon the project of restoring the papacy. His 
measures filling the public mind with distrust, William, Prince 
of Orange, who had married Mary, daughter of James, was in- 
vited by the nobility to the throne. William landed with an 
army, 1688, and James, finding he could make no effectual re- 
sistance, fled to France. He afterward made the attempt to 
recover his kingdom, and landed in Ireland, where he was totally 
defeated at the battle of the Boyne, 1690. Returning to France, 
he died at St. Germain, 1701. 

James, King of Scotland. See Scotland. 

Ja-nic'-ulum, The, one of the Seven Hills of Rome, on the 
w. side of the Tiber, s. of St. Peter's, affording a fine view of 
Rome and the adjacent country. 

Ja'-nus Quadrifons, Arch of, Borne ; in the Velabrum at 
the w. corner of the Palatine Hill ; a quadrangular structure with 
an arch upon each face ; formerly had a second story; use is not 
certainly known ; it is supposed to have been that of a market 
exchange. 

* Jardin d'Acclimatation (zhar'-dan dac'-cle-mah-tah'- 
see-ofi), Paris, in the Bois de Boulogne, 1 ml. beyond the Arc 
de Triomphe de l'Etoile. Tramway from the Arc ; admission, 
daily, 1 fr.; Sun. | fr. Cab charges high, it being beyond the 
fortifications. 

This garden was established for the purpose of introducing and 
acclimating foreign animals and plants. Half a day will be 
needed for strolling along the various paths from one point of 



176 



JARD 



interest to another. Among these may be specially mentioned, 
taking the path to the r. on entering, Silk- worm nursery, Poultry 
house, Tool warehouse, Monkey house, Bird enclosure, marble 
statue of Daubenton the naturalist, Poultry house, Kangaroo 
house, Stables (tariff for ride : camel, pony, or ostrich, 50c. ; ele- 
phant, donkey, or zebra, 25c.), Chalet des Alpacas and Lamas, en- 
closures of Porcupines, Reindeers, Goats. On the r. Buffet and the 
Aquarium. At this point the Aquatic Birds may be visited in 
the pond directly to the left. Returning to the Aquarium, and 
following the main path as before, we reach the Antelopes, Stags, 
r., Dogs, the Aviary, and lastly, the Winter Garden near the en- 
trance, having made the entire circuit. Donkey tramway may 
be taken near the entrance. 

* Jardin des Plantes (zhar-dafl-day-plawnt), Paris. Om- 
nibus from the Madeleine and Place Royal. On the s. bank of 
the Seine, opposite Pont d'Austerlitz. 




1. 


Main Entrance. 


fl. 


School of Fruits. 


17. 


Geological Mus. 


2. 


Aquatic Plants. 


*10. 


Serpents. 


18. 


Mineralogical Mus. 


*8. 


Garnivora. 


**11. 


Mus. of Anat. 


1!). 


Botanical Mus. 


*4. 


Monkeys. 


12. 


Amphitheatre. 


20. 


Botanical School. 


*5. 


Large Animals. 


13. 


Bureau of Administration. 


21. 


Medicinal Plants. 


t>. 


Bear Den. 


14. 


Cedar of Lebanon. 


22. 


Economical Plants. 


*'l. 


Birds. 


**15. 


Zoological Mus. 


23. 


Nurseries. 


*8. 


Birds. 


16. 


Library. 


24. 


Labyrinth. 



Admission. — Menagerie, daily, 10-6, Apr. to Sep.; 11-4, Win- 
ter; to the various museums, Tu. and Th., 2-5; Sun. 1-5; 
Winter, 1-3. Library, daily except Sun. , 10-3. Special tickets 



JERO 177 

may be obtained gratuitously at the Bureau (13) near the w. 
entrance, for admission to the feeding of the menagerie at 3.15 
P. M. daily ; and for special admission to the museums on Tu. , 
Th. and Sat., 11-2. 

The Jardin des Plantes, covering an area of 75 acres, was pro- 
jected in 1626. In 1732 Buffon originated the collections; in 
1788 Bernardin de St. Pierre established the menagerie ; in 1805 
Humboldt presented 4,500 American plants. 

The Museum of Anatomy (11), occupying fifteen rooms, is one 
of the most extensive and valuable anatomical collections ever 
made. In the court are several skeletons of whales. 

The Gallery of Zoology (15), equally extensive and com- 
plete, contains the finest collection of stuffed birds in the world, 
numbering nearly 20,000. 

The Gallery of G-eology (17) has numerous paintings of 
natural scenery — the Fall of the Stanbbach, Arctic Scenes, Erup- 
tion of Vesuvius. 

The Gallery of Botany has specimens of various woods 
and fruits. 

In the Botanical Garden, medicinal plants are indicated 
by red labels ; poisonous, by black ; ornamental, by yellow j edi- 
ble, by green ; those used in dyeing, by blue. 

The Labyrinth (24) is a mound 80 ft. high, ascended by 
winding paths. The Cedar of Lebanon (14) is said to have been 
brought, in 1735, from Palestine ("by Jussieu the elder, in his 
hat."— Baedeker). (''Presented by an Englishman in 1734."; — 
Galignani. ) Statues : Adrien de Jussieu at the entrance of the 
Botanical Gallery ; Cuvier, at the corner of Rue Cuvier, beyond 
the Labyrinth, the central figure of Fountain Cuvier ; Cuvier, in 
marble, in the hall of the Gallery of Geology. 

** Jerome, St., Communion of, by Domenichino, in 
the Vatican. Ranked, of all pictures, second to the Transfigura- 
tion only. Painted for the ch. of the Ara Coeli, but the monks, 
displeased with Domenichino, commissioned Poussin for an altar- 
piece, and gave him this canvas ; but Poussin declared the pic- 
ture one of the finest known, and, rather than touch it, forfeited 
his engagement. 

In the lack of childish grace of movement and pose, his 
cherubs are in strong contrast with Raphael's. The work is 
stated by Kugler to be a close imitation of one by Ag. Car* 
racci, in the Bologna Gallery. 
12 



178 



JERO 







Last Communion of St. Jerome — Domenichino. 



JERU 17ft 

" The aged saint — feeble, emaciated, dying— is borne in the arms of his disci, 
pies to the chapel of his Monastery, and placed within the porch. A young priest 
sustains him ; St. Paula, kneeling, kisses one of his thin, bony hands ; the saint 
fixes his eager eye on the countenance of the priest who is about to administer the 
sacrament— a noble, dignified figure, in a rich ecclesiastical dress ; a deacon holds 
the cup, and an attendant priest the book and taper ; the lion droops his head 
with an expression of grief ; the eyes and attention of all are on the dying saint, 
while four angels, hovering above, look down upon the scene." — Mrs. Jame- 
son. 

"It is remarkable, more than anything else, for its truth and powerful reality, 
The emaciated form of the dying saint is painted with a painful fidelity to nature. 
Every thing is accurately delineated ; costume, attitude, expression, and drapery. 
The unity of the subject is carefully preserved and all thj accessories are made 
subordinate to the simplicity of the main action." — Hillard. 

Joan of Arc, Jeanne d'Arc (zhawn-dark), the Maid of 
Orleans, b. at Domremi, 1402, where she was a servant at an inn. 
The City of Orleans being- at that time besieged by the English, 
Joan professed to have received a divine call to its deliverance, 
asking only a certain sword in the ch. of St. Catherine. A gen- 
eral belief in her inspired mission gave the greatest enthusiasm, 
and with 10,000 troops she marched to Orleans and compelled 
the English to retreat ; this was followed by their defeat at 
Patay. She now declared her mission ended, but the French 
Commandant induced her to remain. In the siege of Compiegne, 
she was taken prisoner, and being remanded to the custody of 
John of Luxembourg, she was sold by him to the English, by 
whom, after 6 months' imprisonment, she was condemned to be 
burned as a sorceress. Her execution took place at Rouen, 1431 ; 
a statue now marking the place. 

*John Lat-e-ran, St., San Giovanni in Laterano, Ch., 
Rome. Near the Porta S. Giovanni on the s. e. margin of the 
city, £ ml. s. e. of the Coliseum. Founded by Constantine ; de- 
stroyed by an earthquake, 896 ; burned, 1808 and 1360 ; rebuilt 
and present facade constructed, 1734. This basilica has long- 
been regarded as the first church of Kome, and the Pope on his 
election repairs hither for his installation ; and on Ascension day 
bestows his benediction from the middle balcony. 

In the portico is a statue of Constantine, from his Baths. The 
skulls of SS. Peter and Paul, also a wooden table on which S. 
Peter celebrated Mass, are said to be preserved here over the 
high altar. Over the arch of the tribune is a mosaic Head of 
Christ, of the 4th cent. At the altar of the Sacrament, are 4 



180 JORD 

bronze columns of the original basilica, said to have been brought 
by Titus from Jerusalem. 

Against the inner row of columns are statues of the apostles. 

*The Corsini Chapel, last in 1. aisle, is regarded as the chief 
ornament of the church, and in sumptuous elegance is surpassed 
only by that of the Borghese Chapel in S. M. Maggiore. Its founder 
Clement XII. (Lorenzo Corsini) "is buried in a splendid porphyry 
sarcophagus which he plundered from the Pantheon." — Hare. 

The courtis interesting from its small spiral stone columns and 
from its relics ; 2 columns from Pilate's house ; slab on which 
the soldiers cast lots for the Saviour's garments ; slab giving the 
height of the Saviour. Fine music at vespers. 

Five Ecumenical Councils have been held here, 1123, 1139, 
1179, 1215, and 1512. For a thousand years the palace, adjoining, 
was the residence of the Popes ; after its abandonment it was 
occupied as an orphan asylum. In 1843 it was converted into a 
Museum for Christian antiquities. See Part II. , Lateran. 

Jordaens, Jacob (yor'-dahns'), 1593-1678, b. Antwerp; 
pupil of van Noort and Rubens ; executed a, large number of 
works, with ^ry variety of subject ; was a master of color and 
chiaroscuro, and one of the most original painters of his time 
among Flemish artists ; though his style is often identical with 
that of Rubens. 

"Being of the reformed faith, he was averse to the customary ecclesiastical 
ideals, and had recourse to private life and festive occasions for his subjects — thus 
laying the foundation of genre painting in the Netherlands. His humor is broad 
and undisguised, often leading to coarseness in delineation." 

His masterpiece is the Apotheosis of Prince Fred. Henry, at 
The Hague. His pictures are to be found in all large collections. 

Pbincepal Works: Belv., two; Bruss., 216-17-18; Cassel, 266, 271-2-3; 
Dresd., 954, 959, 961; Hermit., 647-9, 650-1-2-3 ; Liecht., VIII. 778; Louvre, 
251-4-5-6 ; Madrid, 1404-5-7-10 ; Munich, 181, 324 ; Pesth, XVI. 659 ; Bijks, 202. 

Julia, a frequent Roman name. — I. Aunt of Julius Caesar and 
wife of C. Marius. II. Mother of Marc Antony. III. Sister of 
Julius Caesar, and grandmother of Augustus. IV. Daughter of 
Julius Caesar and wife of Pompey. V. Daughter of Augustus 
Caesar — his only child ; thrice married, (1) to M. Marcellus ; (2) 
to M. Agrippa ; (3) to Tiberius ; banished by Augustus to Pan- 
dataria. VI. Daughter of Julia No. 5, banished to Tremerus by 
Augustus. VII. Daughter of G-ermanicus, put to death by Clau- 
dius. VIII. Daughter of Drusus, put to death by Claudius ; both 
these latter at the instigation of Messalina. 



JUNG 



181 



Jungfrau, The (yoong-frow ; virgin). See Interlaken. 

Juno, Greek Hera, myth; wife of Jupiter; the Queen of 
Heaven, the special protectress of the 
female sex. The great festival in her 
honor was the Matronalia, on the first 
day of March ; June, her month, was 
regarded the most favorable for mar- 
riage. Her favorite birds were the pea- 
cock and cuckoo ; her flowers, the poppy 
and lily. She is represented as a majes- 
tic woman, with a fine forehead, large 
eyes, hair adorned with a crown or dia- 
dem, a veil hanging from the back of 
her head. The diadem, veil, sceptre, 
and peacock are her usual attributes. 

Statues : Barb., 552; Berlin, 14, 27, 195, 779; 
Br. Mu., Ill ; Borgh. Villa, III. *Pronuba ; Cap., 
11, *10; Hermit., 44; Louvre, *574; Ludo. Villa, 20,. 
**41 Juno Ludovisi : Naples, *100, 147 (78) ; Vat. 
(Br.) 112, (Oh.) 241, 511A, 534 bust, (P. C.) **546. 

**Colossal Head of Juno, Villa Ludovisi, 
Rome, by Polycletes ? 

" The grandeur of the head and the sublimity of the expression are beyond all 
praise. She is the only goddess I have ever seen. The others of her class are 




Barberini Juno — Vatican. 





Juno — Naples. 



Juno Ludovisi — Rome. 



women, some beautiful, some majestic, some graceful, but still women. There is 
a tranquil, passionless serenity in the brow and lips — ' the depth and not the tu- 



182 



JUPI 




mult of the soul ' — which seems brought from a region undisturbed by mortal 
emotions and mortal changes." — Hillarcl. 

"I believe it is considered the greatest treasure of the collection, but I did not, 

myself, feel it to be so, nor did I receive any 
strong impression of its excellence.'" — Haw- 
thorne. 

"In gravity, grandeur, and dignity it sur- 
passes all other Junos." — Ampere. 

"No words can give a true impression of 
the colossal head of Juno in the Villa Ludo- 
visi ; it is like a song of Homer." — Goethe. 



Jupiter, Greek Zeus, myth. The 
principal deity of the Greeks and Ro- 
mans ; the special protector of the 
latter nation. Had Juno for wife ; 
dwelt on Mt. Olympus. The eagle, 
the oak, and mountain summits were 
sacred to him. His sacrifices con- 
sisted of bulls, cows, and goats. His 
Jupiter— Vatican. attributes are usually the sceptre, 

eagle, thunderbolt, a figure of vic- 
tory, and a cornucopia. 
Statues : Alb. Villa, 1010 ; Berlin, 2, 23, 

48, 50, 63, 66, 143, 778 ; Br. Mu., 99, 100-1- 

2-22-31 ; Cap. III. black marble : Glyp., 81; 

Hermit., 152 colossal ; Louvre, *31; Naples, 

119, (300), 106, 622; Vat. (Chi.) 222, 255, 

392A, (P. C.) 298, *326, **539. 

*I. Vatican, Rotunda, No. 539. 

Colossal bust, supposed to be after 

the great statue by Phidias atElis, 

which stood 8 centuries, and was 

destroyed a.d. 500. The best ex- 
tant ; found at Otricoli. 

" The mighty locks, raised in the centre 

and falling down on both sides ; the com- 
pressed forehead, with the bold, arched 

brows, from under which the large eyes 

seem to glance over the universe, and the 

broad projecting nose, express energy and 

wisdom, while mild benevolence rests on 

the parted lips, and the luxuriant beard and 

rounded cheeks show sensual power and 

imperishable manly beauty." — Lilbke. 

*II. Vatican, Hall of Busts, No. 326. 




Jupiter — Vatican. 



Colossal ; sitting ; hold- 
ing thunderbolts and a sceptre, with the eagle at his feet. In the 
best style of the Greeks. Known as Jupiter Verospi. 



JUPI 183 

III. Jupiter Serapis (se-ra'-pis), Vatican, Rotunda, No. 540. 
Colossal bust ; found on the Appian Way, near Rome, beating on. 
his head the modius, or corn measure, and a fillet about the brow. 

Jupiter, Temple of. — I. Temple of Jupiter Capito- 
linus, Borne, built by Tarquinius Superbus, B.C. 535, on Capi- 
toline Hill, where the Palace of the Conservators now standi It 
had 3 ranges of columns on the front, and one on the sides. The 
interior was divided into 3 cells, the statue of Jupiter occupying 
the centre, Minerva that on his right, and Juno on the left. The 
gates of the temple were of gilt bronze ; the pavement, mosaic ; 
and in a vault beneath were the Sibylline Books. The temple 
stood 452 years, being burnt B.C. 83. It was rebuilt by Sylla 
and dedicated B.C. 62; and burned by the soldiers of Vitellius 
a.d. 69. Rebuilt by Vespasian ; finally plundered, and its gold 
and statues carried away by the Vandals a.d. 455. It was in this 
temple that the celebrated bronze wolf stood when struck by 
lightning b. c. 64, as mentioned by Cicero. See Capitoline Hill, 

II. Temple of Jupiter Feretrius, Rome, on the Capitoline 
Hill, near the site of the temple of Jupiter Capitolinus. Built by 
Romulus ; the first temple erected in Rome. 

III. Temple of Jupiter Stator, Borne. See Palatine Hill. 

IV. Temple of Jupiter Tonans, Borne, on Capitoline Hill, so 
near the temple of Jupiter Capitolinus that it was considered as a 
porch of the latter. Built by Augustus, in gratitude for his own 
escape when his litter was struck by lightning and his body-ser- 
vant killed. 

V. Temple of Jupiter Victor, Borne. See Palatine Hill. 
Jupiter and lo, painting. See Io. 

Jura Mts., a Swiss range, extending from Bale s. w. along 
the w. shore of Lakes Neuchatel and Geneva to Lyons, attaining 
an elevation much less than that of the Alps. See Alps. 

Kauffman, Maria Angelica, 1741-1807, b. at Schwartz- 
enberg, Aus.; commonly stated at Coire, Switz.; studied in It- 
aly ; went to England, 1766 ; became a favorite of the Royal 
Family. In 1768 she was elected one of the 36 original members 
of the Royal Acad., through Reynolds, whose admiration for her 
caused him to remain single. She was chosen with Reynolds, 
West, and others, to decorate St. Paul's. Married a servant of a 
Swedish nobleman, who passed himself off for his master. Sep- 
arated from him and married Zucchi, a Venetian artist, leaving 
England after residing there 17 years. Died in Rome, 1807 ; 



184 KAUL 

buried in the ch. of St. And. delle Fratte. One of her most no- 
ted works is the Vestal, in the Dresden Gall. 

'■ No living painter excels her in dignity or in delicacy of taste. 1 ' — Goethe. 

" Her reputation, not resting on any solid basis of excellence in art, has passed 
away." — Caters Biog. Die. 

Principal Works : Dresd., 1978-79-80 ; Harnp. Ct., 502 ; Hermit., 1304-5-6, 
So. Kens., Her Portrait ; Munich, 152. 

Kaulbach, Wilhelm von, 1805-1874, b. at Arolsen; 
studied at Diisseldorf under Cornelius. His works are chiefly 
large historical pictures, in the Berlin Museum, of which the 
Battle of the Huns, the *Destruction of Babel, and the Reforma- 
tion, are the most noted. 

Kenilworth Castle, Eng. (from Kenulph, King of Mercia), 
5 mis. by rail from Coventry or Leamington. The castle was 
founded by Geoffrey de Clinton, Treasurer of Henry I. , but soon 
became a possession of the crown. By Henry III. it was granted 
to the Earl of Leicester. Upon the revolt of the Earl, the castle 
was besieged, and, after six months, taken. In the time of Ed. I., 
it was the scene of a costly tournament. Edward IL was here 
confined in prison. In the reign of Ed. III. it passed into the 
possession of John of Gaunt ; and, upon the accession of his son, 
Henry IV., it again became the property of the crown, and so 
continued until Elizabeth bestowed it upon her favorite, Dudley, 
the Earl of Leicester. 

Enormous sums were spent by Leicester in the enlargement 
and decoration of the castle. Queen Elizabeth visited Kenil- 
worth in 1566, 1568, and 1575, the last being the one immortal- 
ized by Sir Walter Scott : 

'•The external wall of this royal castle wa<=, on the south and west sides, 
adorned and defended by a lake, partly artificial, across which Leicester had con- 
structed a stately bridge, that Elizabeth might enter the castle by a path hitherto 
untrodden, instead of the usual entrance to the northward, over which he had 
erected a gatehouse, or barbican, which still exists, and is equal in extent and 
superior in architecture to the baronial castle of many a Northern chief." 

After the death of Leicester, Kenilworth was seized by the 
crown, and, at a later period, conferred by Cromwell upon some of 
his officers, by whom it was demolished for the sake of its mate- 
rials. After the Restoration, Chas. II. conferred the property 
upon the Earl of Clarendon. For a long period the castle lay in 
ruins, but the present Earl has manifested a praiseworthy desire 
to arrest further decay. 

Of the original fortress, the only part now remaining is Caesar's 
Tower, the walls of which have, in places, a thickness of 16 ft 



KENS 



185 



The portions erected by the Duke of Lancaster are called the Lan- 
caster buildings, among which was the great hall, 86 by 45 ft. 

The part erected by Leicester, although the most recent, pre- 
sents the most ancient appearance, having been constructed of a 
soft, friable stone. 

" The bed of the lake is now a rushy swamp, and the massy ruins of the castle 
only serve to show what their splendor once was, and to impress on the musing 
visitor the transitory value of human possessions, and the happiness of those who 
enjoy a humble lot in virtuous contentment." — Scott. 

Kensington Palace, London; w. end Hyde Park; built 
by Wm. III., who lived and died here, as also his Queen, Mary; 
Queen Anne and husband, and George II. Birthplace of Queen 
Victoria, and at present occupied by the Royal Family. 

Kensington, S., Museum. See Part II. , South Kens. 

Kew Gardens ; 5 mis. w. of London, daily, 1-6 ; Sun., 2-6; 
by S. W. Ely. from Waterloo Sta. ; and by the Underground. The 
Gardens comprise 270 acres ; hothouses of orchids, ferns, and 
cacti ; the Great Palm House ; the Water Lily House, with the 
Victoria Regia, Papyrus, and Lotus ; the Palm House for tropical 
plants; the Winter 
Garden, covering 
If acre ; the Ar- 
boretum and the 
Rockery. 

*Killarney, 
Lakes of, Ire- 
land ; on the s. w. 
coast ; 3 hrs. from 
Cork by rail. The 
lakes are consid- 
ered the finest in 
Great Britain. 

At Killarney 
the Railway Hotel 
is connected with 
the station, the 
Victoria is on the lake, the Lake Hotel is on the Bay of Castel- 
lough, adjoining Muckross Abbey. One day, with an early start, 
will suffice for the principal points of interest. The Lakes and 
environs abound in delightful excursions. 

*Knife Grinder, The, in the Uffizi, Florence, found in 
Rome, 16th cent. Supposed, by some, to be from the group of 




Knife Grinder— Uffizi. 



186 KRAF 

Marsyas, who was to be flayed alive ; by others, to be a slave 
overhearing a conspiracy. 

"This statue is an enigma to which no satisfactory solution has ever been of- 
fered. But as to its power there can be no doubt. Every line glows with the fire 
of truth/ 1 — Hillard. 

Krafft, Adam, 1430?-1507, believed to have been born at 
Nuremberg ; one of the most noted of the early German sculp- 
tors. His most important work is the Ciborium in the Ch. of St. 
Lawrence, Nuremberg, a Gothic spire of stone, 02 ft. in height, 
wrought with the greatest skill and effect. The top of the spire 
is bent over as if too high to stand erect beneath the ceiling. 

Lach'-ry-ma-to-ry. Literally, a tear bottle. A fanciful use 
attributed to small glass vessels, in shape like the alabastron, but 
with a longer neck, and said to be intended for holding tears con- 
secrated to the dead. Their real use was to hold perfumes or 
ointments. 

Laocoon (lah-ok'-o-on), myth; a Trojan priest, who attempted 
to dissuade the Trojans from drawing the wooden horse of the 
Greeks into the city, and advised its being burned. For this, 
Minerva, who favored the Greeks, struck him with blindness and 
sent two serpents to destroy him and his two sons. 

**Group op Statuary in the Vatican, Sculp. GaU. No. 74. 
Discovered in the Baths of Titus, 1506. 

The raised arms of the figures, and some portions of the serpents, are restora- 
tions. The right arm of the father is incorrectly restored, being extended at full 
length instead of being folded with the hand at the back of the head. M. Angelo 
first noticed that the group is not wrought from a single block as mentioned by 
Pliny. 

" The Laocoon which stands in the palace of the Emperor Titus may be con- 
sidered superior to all other works both of painting and statuary. The whole 
group — the father, the boys, and the awful folds of the serpents —were formed out 
of a single block, in accordance with a vote of the Senate, by Agesander, Polydo- 
rus, and Athenadorus." — Pliny. (About 100 a.d.) 

"When the order was given for the removal of the Laocoon, Apollo, and Venus, 
to the Belvedere, all Rome was filled with commotion ; they threw flowers upon 
the statues and clapped their hands— from the Baths of Titus to the Vatican 
Laocoon was borne in triumph." — Goiirnerie. 

" The group of Laocoon and his sons — so justly denominated by Michael Angelo 
at the time of its discovery, the miracle of art, ' il portento dell 1 arte ' — is one of 
those productions which would have been pronounced impossible had they neve? 
been executed. It stands upon the very line by which the art of sculpture is di- 
vided from poetry and painting. There is no other work of Greek art, of high 
rank at least, which resembles it." — Hillard. 

" An immortal agony, with a strange calmness diffused through it, so that it 
resembles the vast rage of the sea, calm on account of its immensity ; or the tu- 



LAOC 



187 



mult of Niagara, which does not seem to be tumult because it keeps rouring on 
forever." — HawtTwrne. 

"From three different scenes, one united and strictly connected group is 
formed, depicting the one moment of utmost suffering and horror petrified with 
fearful truth, and the whole pathos is concentrated in the mighty figure of the 
father."— Liibke. 




lllllll!ili!l!ililllH!l^!^^nl! 

Laocoon — Vatican. 



. . . Turning to the Vatican, go see 
Laocoon's torture dignifying pain — 
A father's love and mortal's agony 
With an immortal's patience blending, vain 
The struggle ; vain against the coiling strain 
And gripe ; and deepening of the dragon's grasp, 
The old man's clench ; the envenom'd chain 
Rivets the living links — the enormous asp 
Enforces pang ou pang and stifles gasp on gasp." — Byron. 



188 



LAST 



Last Communion, painting by Domenichino. See Jerome. 

Last Judgment, painting by Angelo. See Sistine Chapel. 

**Last Supper, a noted painting by Leonardo da Vinci, in 
the Refectory adjacent to the Church of S. M. delle G-razie, Milan. 

The picture was executed 1496-98. It suffered constantly from 
the smoke of the adjoining kitchen, and, in 1500, the room ap- 
pears to have been flooded. Even as early as 1642, Scanelli says 
it was difficult to discover the subjects. In 1652 the monks opened 
a doorway through the wall, cutting out portions of the central 
part. In 1726, Bellotte "an indifferent artist," and in 1770, 
Mazza, "a wretched dauber," restored (!) the picture. In 1796, 
the cavalry of Napoleon (against his express order) occupied it as 
a stable ; in 1800 it was again flooded ; in 1807, Viceroy Eugene 
took effective measures for the preservation of the picture. 




Last Supper — da Vinci. 

Nothing, however, prevents its gradual flaking off the walls. It 
has been retouched and restored so often " that little or nothing 
remains of Leonardo, save the composition and the forms gen- 
erally." " Of the heads there is not one untouched, and many are 
totally ruined. Fortunately, that of the Saviour is the most pure, 
being but faintly retouched." The original cartoons are at Wei- 
mar, Ger. 

The disciples are divided into two groups of three each, on 
either side of Christ. On Ms right the first person is John, with 
head bowed and clasped hands. Next him is Judas, in profile, 
with the money-bag in his right hand, and the overturned dish of 
salt against his arm, his left hand approaching the dish, which 



LAUS 189 

Christ also is about to touch. Behind Judas is Peter, with his 
head between Judas and John, and his hand on John's shoulder. 

The next group is of Andrew with both hands raised in as- 
tonishment, St. James the Less, with likeness of face to Christ 
as indicating- relationship, with his hand on Peter's shoulder ; and 
lastly, Bartholomew standing, and leaning forward with both 
hands resting on the table. 

On the left of Christ, first is James the Greater, who extends 
both arms in amazement, and behind him is Thomas, with his 
fore-finger raised as if in menace. The third of this group is 
Philip, with both hands at his breast, and with a mildness of face 
akin to John's. The next, with both arms extended toward 
Christ, but looking toward the end of the table, is Matthew, who, 
with Thaddeus, is intently speaking to Simon sitting at the end 
of the table, with both hands raised. 

Of Christ it may be noticed that his left hand is open, as if in 
supplication, while his right — that toward Judas — is reversed as 
if in distrust or aversion. 

Notwithstanding the multiplied ravages of two centuries, 
enough yet remains of the grouping and of the individual expres- 
sion of each of the actors to place this picture in regard to force 
of conception, harmony of detail, and delicacy of touch, among 
the finest works ever wrought. 

"In these fading fragments of color, the trained eye of the artist can still dis- 
cover Leonardo's minute beauty of finish, but I must take their judgment on 
trust. It is a work full of melancholy interest — a picture in ruins — and the im- 
agination peoples the denuded walls with forms not inferior to those which time 
has effaced." — Hillard. 

Lausanne (lo-zahn), Bom. Lausonium, Switz., is delight- 
fully situated on an eminence, 1 ml. from lake Geneva, and com- 
mands most charming and extensive views of the lake and the 
distant mountains opposite. The village itself is less pleasing, 
being divided by a deep ravine, and the streets being irregular 
and hilly. Pop. about 30,000. 

The Cathedral, founded 1235, and consecrated by Gregory X, 
stands upon a terrace near the market-place. Among its monu- 
ments is one to Victor Amadeus VIII. , of Savoy, who was elected 
pope, as Felix V. , by the Council of Bale. This cathedral is noted 
as the scene of the celebrated Disputation of Calvin, Farel, and 
Viret, 1536. 

The Town Hall, formerly the episcopal castle, dates from the 



190 LEAM 

13th cent. The Cantonal Museum contains a coll. of Nat. Hist., 
and antiquities from the pre-historic lake dwellings. The Ar- 
land Museum, or art gallery, is an interesting coll. of modern 
works, with a few from the old masters. In the garden attached 
to Hotel Gibbon is shown the place where Gibbon wrote the con- 
cluding portions of his Rise and Fall of the Roman Empire. 

Routes : To Berne, 3 hrs., $2.20 ; $1.60 ; see Route 33. To Martignv, 2% 
hrs., $1.50 ; $1 ; see Route 34. To Geneva, by rly., 1% hr., $1.25 ; $0.90 ; by 
sttnr., 3 hrs., $0.90. To Villeneuve, 2 hrs., $0.70. Union station for all trains. 

Leamington (-lem- ; meadow town on the Leam\ Eng. See 
Route 9, Note 15. 

Leeds, Eng.; pop. 300,000. The older part of the town has 
narrow and uninviting streets ; the new portion, on the w. , is 
well laid out and handsomely built. In front of the Court House 
is a bronze statue of Peel. * Ruins of Kirkstall Abbey 2 mis. 
distant. See Route 5, Note 10. 

Leghorn, Livorno, Italy, a modern, well-built city of 100,- 
000 pop , dating from the middle of the 16th cent. ; prior to which 
time it was a small fishing village. Has no antiquities, and few 
objects of interest. 

Leys, J. A. H., 1815-1869, b. Antwerp. Studied under 
Braekeleer ; upon the exhibition of his pictures at Brussels, he 
at once rose to fame and was elected a member of the Legion of 
Honor. He executed a series of pictures for the Town Hall of 
Antwerp. At his death his body lay in state, with his favorite 
work at his head. " He is one of the few modern painters whose 
works will stand by the side of the old masters." — Buxton. 

L i b a . Legend of Falkenburg. 

Liba, the beautiful maiden of Falkenburg was espoused to Guntram, a bi*ave 
young knight. While they were awaiting the appointed time of their nuptials, 
Gnntram was honored with an embassy to the Court of Burgundy. 

Hastening on his mission, he came to a castle, and as the servant led the way to 
his room at the hour of retiring, Guntram observed a lovely veiled portrait, and 
asked concerning it. The servant replied '* She was the daughter of the house, 
most lovely and bewitching, but cruel toward her suitors." 

Guntram retired, but was unable to sleep ; soon he heard a rustling as of a 
lady's dress : arising and opening his door he beheld the young lady before him ; 
he clasped her hands when she gently asked, "Do you love me ? " to which the 
Knight replied, " More than my life. - ' Upon this she took a ring from her finger 
and placed it upon his. 

Next morning, as the lord entered, Guntram said, "I have seen your beautiful 
daughter and she gave me this riner." "Then," exclaimed he, "God help you, 
sir : in three times nine days you will be a corpse ! " Returning homeward 
with all dispatch, Guntram pressed Liba to hasten their wedding-day. When the 



LIEG 191 

hour arrived he persuaded himself that all would yet be well, but as they stood 
before the altar, the dead girl came and placed her hand in his. Then, telling 
Liba all, he begged her to become his wife before he died. The ceremony ended, 
he clasped her to his bosom an instant and fell lifeless. Liba entered a convent 
where she did not long survive her lost Guntram. 

Liege (le-aizh'), Ger., Luttich (lut-tik), a flourishing modern 
city of 120,000, in the midst of the mining districts of Belgium. 
Its principal manufacture is iron, in which it equals the best 
products of France and England. It was founded in the Gth 
cent.; fortified in the 10th ; taken by the Duke of Brabant, 1212; 
by Ch. the Bold, 1467, who levied enormous sums and razed its 
fortifications; in 1691, was bombarded for 5 days; in 1702, 
taken by Marlborough. See Boute 19, Note 5. 

Limoges Ware (lim-ozh'). See Pottery. 

Linlithgow Castle (lin-lith'-go ; lake of the greyliound), 
Scot., 17 mis. n.w. of Edinburgh, on the margin of the lake of 
the same name. Founded by Ed. I.; destroyed by Bruce ; re- 
built by the English ; James I. and his successors made it a royal 
residence, and here Mary, Queen of Scots, was born. Wantonly 
destroyed by fire, 1746. 

Lip pi, Fra Filippo, 1412-1469, Italy. Although the usual 
account of his early life, derived from Vasari, is now generally 
discredited, yet it appears that, as a monk, he was remarkably 
free from the austerities usually incumbent upon the brother- 
hood. That he was an ardent admirer of beauty, there seems 
little room to doubt ; and whilst this love of beauty, in the con- 
crete, may have led him to elope with a nun or to jump from the 
window to meet his lady love, or to otherwise scandalize the 
brethren, it certainly wrought for beauty, in the abstract, one of 
its earliest victories over the lifeless Byzantine ; and ever after, art 
dwelt in a freer atmosphere and in a closer affinity with nature. 

" He is the first artist who, with a rich and playful fancy, heartily enjoyed the 
fulness of life even in its chance manifestations. 

" None of his predecessors express attitude and motion so beautifully as he in 
his grand life-like draperies. 

'" He was an ardent admirer of nature, and being free from excessive asceti- 
cism, he gave his Madonnas the face of any beautiful woman he chanced to meet ; 
and sought beauty regardless of the authorized limits." 

Principal Works: Arezzo, 44; Berlin, 58?, 69; Doria, II. 28; Flor. Acad., 
I. 41-2, III. 12, 26 ; Prank., 8 ; Louvre, 220-1 ; Munich, 554, 1169 ; Naples, Tua 
Sch., 37; Nat. Gall., 5S6-9, 666-7; Pitti, 338; Uffi., 1179, 1307. 

Lippi, Filippino, 1460-1504, Italy, said to be the son oj 
nephew of Fra Filippo. His style is that of Fra Lippi and Botti- 



192 LIVE 

celli ; was fond of ornamentation. Was employed to complete 
the frescos commenced by Masaccio in the Brancacci Chapel, 
Florence. He there painted St. Peter ; Paul's visit to Peter in 
Prison ; and part of the Resurrection of the King's Son. He is 
regarded as one of the greatest artists of his century, particularly 
in his larger historical works. 

Liverpool, Eng., on the e. side of the Mersey, which here 
flows northward ; on the opp. is Birkenhead. In 1650 the town 
owned but 15 ships ; in 1764, over half the slave trade was car- 
ried on by Liverpool merchants ; it now possesses £ of the foreign 
trade of Gt. Britain. Since 1740 Liverpool has doubled its popu- 
lation, exports, and imports every 16 years. Present pop. over 
500,000. 

The wet-docks occupy 200 acres ; the dry, 33 ; and the quays, 
7 mis. In the river there are two immense landing-stages, where 
the tugs from the ocean steamers and the Birkenhead ferry-boats 
make their landings. 

Op the Public Buildings, the Exchange on Dale St., near 
the Landing-stage, and St. George's Hall, opp. the Lime St. Sta. , 
are the most noted. In front of the latter are equestrian statues 
of Prince Albert and Queen Victoria, and two colossal lions. To 
the w. rises the Wellington mon. surmounted by a bronze figure 
of the Duke, made of gun metal ; across the street to the n is 
the Walker Art Gallery and Museum — a fine collection. The or- 
gan of St. George's Hall is said to be the largest in Eng. 

Liverpool is noted as the birthplace of Mrs. Hemans. 

Routes: To London, 5 hrs., $7; $5; see Routes 7, 8, 9. To Edinbtjbgh, 6 
hrs., $7 ; $5 ; see Route 7. To Glasgow, 6 hrs., $7 ; $5 ; see Route 7. Several 
stations. 

* Loggie, Raphael's, in tJie Vatican, Home. Passing 
through the Sala of Constantine we reach the Loggie, of which 
the gallery to the r. is adorned from designs by Raphael, exe- 
cuted by his pupils. There are 52 frescos in 13 sections, 12 from 
the Old Testament, and one from the New, constituting ' ' Ra- 
phael's Bible." 

As these decorations resemble, to some extent, those which had 
at that time been recently discovered in the Baths of Titus, there 
has always been some question whether they are to be regarded 
as entirely original works. Kugler, however, remarks that Ra- 
phael's arabesques differ so materially from the antiques k ' that 
there is no occasion for regarding them as plagiarized.''' 



LIVE 



193 




194 LOND 

"Nothing can surpass the grace and delicacy of these decorations. Figures, 
flowers, animals, mythological subjects and architectural ornaments are combined 
with the most delightful fancy." — Murray. 

" The stucco decorations of the gallery are of exquisite beauty." — Rare. 

I. Arcade, by Raphael, Creation : 1. Creation of Light ; 2. 
Dry Land ; 3. Sun and Moon ; 4. Animals. 

II. Adam and Eve: 1. Creation of Eve, Raphael; others, 
by G-. Romano ; 2. The Fall ; 3. Exile ; 4. The Punishment. 

III. By G. Romano. Noah: 1. Builds the Ark; 2. Deluge; 
3. Resting of the Ark ; 4. His Sacrifice. 

IV. By F. Penni. Abraham: 1. Melchisidek; 2. Covenant,- 
3. The Three Angels ; 4. Flight of Lot. 

V. By F. Penni. Isaac: 1. God appears; 2. Isaac and Rebec- 
ca ; 3. Jacob's Blessing ; 4. Esau's Blessing. 

VI. By P. da Modena. Jacob: 1. His Ladder; 2. Meets Ra- 
chel; 3. Laban ; 4. His Journey. 

VII. By G. Romano. Joseph: 1. Tells his Dream ; 2. Sold into 
Egypt; 3. Potiphar's Wife; 4. Interprets Dreams. 

VIII. By G. Romano. Moses : 1. The Finding ; 2. The Burn- 
ing Bush ; 3. Destroys Pharaoh ; 4. Strikes the Rock. 

IX. By R. da Colle. Moses : 1. Receives the Law ; 2. The 
Golden Calf ; 3. Breaks the Tables ; 4. The Pillar of Cloud. 

X. By P. del Vaga. Joshua : 1. Crosses the Jordan ; 2. Jeri- 
cho ; 3. The Sun Stands Still ; 4. Divides the Promised Land. 

XI. By. P. del Vaga. David: 1. Anointed; 2. Goliah ; 3. 
His Triumph ; 4. Sees Bathsheba. 

XII. By P. Maderno. Solomon : 1. Anointed ; 2. His Judg- 
ment ; 3. The Queen of Sheba ; 4. Builds the Temple. 

XIII. By G. Romano. Christ: 1. Adoration of the Shepherds; 
2. Of Magi ; 3. Baptism ; 4. Last Supper. 

London, Eng. Is unequally divided by the Thames, much 
the larger portion being upon the northern side. The river ia 
spanned by 15 bridges, of which the most eastern, or farthest 
down the stream, is London Bridge, and £ ml. to the n. of Lon- 
don Bridge is "Cornhill," the location of the Bank, and the 
great money centre of the Metropolis. From this point two 
principal thoroughfares lead westward, parallel with the river, 
named, as we proceed westward, as follows : The one nearest the 
river, Victoria Street, Cannon Street (to St. Paul's), Ludgate Hill, 
Fleet Street (to Temple Bar), Strand (to Charing Cross and St. 
James's Park), and Parliament Street (to Westminster Abbey). 



LOND 195 

The other : Poultry, Cheapside, Newgate Street, Holborn, and 
Oxford Street, to Hyde Park. A third avenue has recently been 
opened, via Victoria Street and the Embankment, to Westminster. 

The city extends about 10 mis. from east to vest, and is of 
little less width from north to south. Its population is about 3^ 
millions. 

The financial and business houses of the city are principally lo- 
cated to the east of St. Paul's ; the galleries, theatres, and 
places of amusement between St. Paul's and St. James's Park ; 
the Parks and residences of the nobility upon the western margin 
of the city. The railway stations are, with few exceptions, in 
the suburbs. 

Americans will find a location in the vicinity of Charing Cross 
the most convenient ; near which are hotels of every degree of 
comfort and price desired. Omnibuses abound, but they will 
generally be found less satisfactory than cabs or hansoms. 

From the innumerable objects of interest offered to the visitor, 
the tourist of limited time may well feel some embarrassment in 
making choice. To aid in the selection, the more important ob- 
jects and localities are indicated by a star *, or by a double 
star **. Titles given in capitals will be found under their re- 
spective heads. 

Routes: To Antwerp, via Harwich, 14 hrs., $6; see Route 10B ; by Steamer 
direct, 18 hrs., $5 ; see Route 10A ; via Queenboro, $6 ; see Route 1UC. To 
Brussels, via Dover-Ostend, 11 hrs., $5.75 ; see Route 11. To Berlin, via Os- 
tend-Cologne, 26 hrs., $28; $24; via Queenboro, 24 hrs., $22; $15.50. To Co- 
logne, via Dover-Ostend, 20 hrs., $16.50 ; $12 ; see Route 11 to Brussels, thence 
by Route 19 to Cologne. To Dublin, via Holyhead, 11 hrs., $11. To Edin- 
burgh, 10 hrs., $14; $11; see Routes 5, 6. To Glasgow, 10 hrs., $14; $11 
see Route 4. To Liverpool, 5 hrs., $7.25 ; $5.50 ; see Routes 7, 8, 9. To Paris. 
via Dover-Calais, 10^ hrs., $15 ; $11.25 ; see Route 12 ; via Folkestone-Boulogne 
10>i" hrs., $14 ; $10.50; see Route 13 ; via Newhaven-Dieppe, 16 hrs., $8.25 ; $6 
see Route 14 ; via steamer to Boulogne, thence rly. to Paris, 14 hrs., $8.25 ; $6.25 
see Route 13, from Boulogne to Paris. To Rotterdam, via Harwich, 13 hrs.,, 
$6.50 ; via Queenboro, 13 hrs., $6.50. 

London. Places and Objects of Interest. 

I. Galleries and Museums ; II. Miscellaneous ; III. Music 
Halls ; IV. Statues and Monuments ; V. Theatres, etc. 
I. Galleries and Museums. 
(See also under the titles in small capitals.) 
Bethnal Green Museum, Victoria Park; at 10, 6d ; M., Tu.., 
Sat. free. 

British Gallery of Art, 57 Pall Mall; sum. and wint. exhib., 1 sh.. 



196 LOND 

♦♦British Museum, Great Russell St. P. 426. 

Crystal Palace. 

Dore Gallery, 35 New Bond, daily 10-6 ; 1 sh. 

♦Dudley Gallery, Piccadilly, Egyptian Hall ; 1 sh. ; spring and 
fall exhibitions. 

♦Dulwich Gallery. P. 437. 

India Museum, nr. Albert Hall ; 10-6 ; 6d.; M. and Sat., 1 sh. 

Geological Mus. , Piccadilly, 10-4, 5, daily, ex. F. 

**Grosvenor Gallery, 137 New Bond. 

Guildhall Museum of Roman and Mediasval Antiquities, Cheap- 
side ; daily at 10. 

♦Hampton Court. P. 442. 

♦♦National Gallery. P. 457. 

Natural History Museum, So. Kensington, unfinished. 

Royal Academy of Arts, Piccadilly ; May to Aug. ; 10-7 ; 1 sh. 

Royal Coll. of Surgeons ; Anatom. Mus.; 12-4, ex. F. and Sat. 

Soane Mus. , 13 Lincoln's Inn Fields ; sum. and wint. exhib. , 
at 11 ; free. 

Society of Br. Artists, 6 Suffolk St. ; 1 sh., ex. W., at 10. 

*♦ South Kensington Museum and Gallery. P. 516. 

Tussaud' s Waxworks, 57 Baker St. ; evening, 1 sh. 

United Service Museum, military, Whitehall Yard ; daily at 
11, ex. F. and Sun. 

Water Colors, 5A Pall Mall, east ; Apr. to Aug. ; 1 sh. 

Water Colors, 53 Pall Mall; sum., 9-7; wint., 10-4. 

Zoological Gardens, Regent's Park ; daily, 1 sh. ; M. , 6d. 

II. Miscellaneous Places op Interest. 
(See also under the titles in small capitals.} 

Albert Hall, So. Kensington, opp. Hyde Park. 
♦♦Albert Memorial, So. Kensington, opp. Hyde Park. 
♦Bank of England, e. end of Poultry and Queen Victoria St. 
Barclay's Brewery, Park St., s. side nr. Lond. Bridge. 
Billingsgate Fish Mkt. , on the Thames below Lond. Br. 
Bow Church, Cheapside, by Wren, one of his best. 
Buckingham Palace. 

Bunhill Fields, cemetery, burial place of Bunyan, Defoe, and 
Dr. Watts. 
♦Charing Cross. 

Cheapside, from St. Paul's to the Bank. 
Clement, church of St. See Strand. 




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197 



Cleopatra's Needle. See Victoria Embankment. 
♦Covent Garden Mkt. ; 5-7 a.m., Tu., Th., and Sat. 
♦Crystal Palace. 

Exeter Hall, n. side of Strand, nr. Covent Garden. 
Guildhall. Kensington Palace. 
*London Bridge, built 1825, best visited 10 a.m. 
Mansion House, e. end of Poultry, residence of the Lord Mayor. 
Mews, Royal. See Buckingham Palace. 
♦Parks. ♦♦Parliament Houses. **Paul's, St. 
Smithfield, market-place, where Rogers, Bradford, and many 
others, suffered martyrdom. 

Spurgeon's Tabernacle, Newington Butts, s. side Thames. 

* St HAND. 

Tabard Inn of Chaucer Pilgrims, High St., South wark. 

* Thames, The. ** Tower, The. ** Trafalgar Square. 
Victoria Embankment. ♦♦Westminster Abbey. 

* Westminster Hall. See Parliament Houses. 
Whitehall. ** Windsor. 

Zoological Gardens in Regent's Park; daily, 1 sh. ; Mon., 6d. 



**British Museum 

♦Crystal Palace 

Hampton Court 

India Museum 


S. 






M. 
















T. 













w. 














T. 












p. 







s. 








10 till dusk. 

10 till 4, 5, 6. 

10 till 9 p.m., 1 sh. ; Sat., 2/6. 

10 till 4, 5. 

10 till 5. 

10 till 4, 6. 

1-6: 6d. 


** National Gallery 


1-6 ; Sun., 2-6. 

10 till 5, 6. 

|ll till 5. 

10-4 ; free days-10 p.m. ; 6d. 

10-4: 1 sh. 


*So. Kens. Museum 

♦The Tower 




~ 


9-dusk, 1 sh.; Mon., 6d. 



indicates days free ; — admission fee. 

III. Music, Concert, and Exhibition Halls. 

* Alexandra Palace, concerts ; Muswell Hill ; by rly. from King's 
Cross Station. 

Canterbury Hall, concerts; Westminster Bridge Road ; 7 p.m. 
**Crystal Palace, concerts and exhibitions ; Sydenham. 
Egyptian Hall, concerts ; Piccadilly. 

Evans' Music and Supper Rooms, Covent Garden ; 1 sh. ; 8 p.m. 
Marylebone Hall, High Street, Marylebone. 



198 



LOND 



Metropolitan Music Hall, 267 Edgeware Road. 

Moore and Burgess Minstrels, St. James' Hall, Regent it. 

Pavilion Music Hall, Tichborne Street, Hay market. 

Raglan Music Hall, 86 Theobald's Road, Holborn. 

Reed's Dramatic Entertainments, 4 Langhatn Place. 

Regent Music Hall, Vincent Square, Westminster. 

Royal Music Hall, 242 High Holborn. 

*Royal Aquarium, concerts, Broad Sanctuary, Westminster. 

* South London Palace of Amusements, 92 London Road. 

St. George's Hall, 4 Langham Place, W. 

St. James' Hall. Regent st. 

The Oxford, 6 Oxford st. 

The Polytechnic, 309 Regent st. 

Willis' Rooms, King Street, St. James. 

Winchester Hail, Great Suffolk Street; 6d.; 8.30 p.m. 



IV. Monuments and Statues. 



Bartholomew's, St., Hospital, Henry 

VIII. 
Cannon Street, William I Y. 
Cavendish Square, Lord Bentinck. 
Charing Cross, Charles I. 
Fish Street Hill, Fire Monument. 
Hanover Square, William Pitt. 
Haymarket, George III. 
Holborn Circus, Prince Albert. 
Hyde Park, Albert Memorial. 
Hyde Park Corner, Achilles. 
Hyde Park Corner, Wellington. 
James's Square, St., William III. 
Kensington Gardens, Jenner. 
Leicester Square, Shakespeare. 
Ludgate Hill, St. Paul's, Queeti Anne. 
Pari. House, Rich. (Jaeur de Lion. 
Parliament Square, Palmerston. 
Parliament Square, Lord Derby. 
Pari. Square. Sir Robt. Peel. 
Paternoster Row, Sir Eobt. Peel. 



Royal Exchange, Queen Victoria. 
Royal Exchange, Wellington. 
Royal Exchange, Charles II. 
Royal Exchange, Queen Elizabeth. 
Russell Square, Duke of Bedford. 
Threadneedle st„ Peabody. 
Trafalgar Square, George IV. 
Trafalgar Square, Havelock. 
Trafalgar Square, Sir C. Napier. 
Trafalgar Square, Nelson, 
Victoria Embank., Obelisk. 
Victoria Embank., Gen. Outram. 
Victoria Embank., J. S. Mill. 
Victoria Embank., Brunei. 
Waterloo Place, Duke of York. 
Waterloo Place, Burgoyne. 
Waterloo Place, Colin Camx>bell. 
Waterloo Place, Crimean. 
Waterloo Place, Franklin. 
War Office, Pall Mall, Lord Herbert. 
Whitehall Gardens, James II. 



V. Theatres. 

Criterion, Piccadilly, East; at 8 o'clock. 
Drury Lane, near Covent Garden ; dress circle, 5s. ; at 7. 
Folly, King William Street, Strand ; at 7.30. 
Gaiety, 345 Strand; balcony stalls, 5s.; boxes, 3s.; at 6.45. 
Globe, Newcastle Street, Strand; dress circle, 5s.; at 7.15. 
Haymarket, Haymarket ; dress circle, 5s. ; at 8. 
*Her Majesty's, near Haymarket (Opera House) ; dress circle, 
10a. and 15s. ; at 8.30. 



LORE 199 

Lyceum, Wellington Street, Strand; dress circle, 5s.; at 7.30. 

National Opera House, now building. 

Opera Comique, 299 Strand ; orchestra stalls, 5s. ; at 7.45. 

Princess 1 , 73 Oxford Street ; dress circle, 5s. ; at 7. 

Prince of Wales', 21 Tottenham Street ; dress circle, 6s. ; at 8. 

Royal Adelphi, near Bedford Street; dress circle, 5s.; at 7. 

Royal Alhambra, Leicester Square; fauteuils, 5s.; at 7.30. 

Royal Olympic, Wych Street; stalls, 6s. ; boxes, 4s.; at 7.30. 

** Royal Italian Opera, Bow Street, Long Acre ; dress circle, 
Ss.; at 8.30. 

Royal Strand, Strand ; dress circle, 5s. ; at 7. 

St. James 1 , King Street; dress circle, 5s, ; at 7.30. 

Vaudeville, West Strand ; balcony stalls, 5s. ; at 7.30. 

Lorenzo, San, ch., Florence, on the Piazza San Lorenzo, 
erected, a.d. 390; rebuilt, 1059; burned, 1423; reconstructed, 
1425, from designs by Brunelleschi ; completed by M. Angelo. 

Beneath the high altar is the tomb of Cosmo de' Medici, 
"Father of his Country." *Bas-reliefs on the pulpit by Dona- 
tello and Bertoldo ; s. aisle, *mon to Benvenuti, by Thorwaldsen. 

Old Sacristy, erected by Brunelleschi ; 4 evangelists, bronze 
doors, and bas-reliefs by Donatello ; 2d Chapel, an Annuncia- 
tion, by Fra Lippi. 

New Sacristy, daily, 10-4; Sun., 10-3; M., 12-3; entered 
from the ch., but more commonly from the street in the rear of 
the ch. i fr. See Medicean Chapel. 

Lorenzo Fuori 8e Mura, San, Church of, Rome, f ml. 
beyond Porta di Lorenzo. In front is the statue of St. Law- 
rence. A ch. was erected here over the tomb of St. Lawrence 
by Constantine, about 330 ; rebuilt, 578 ; a new nave added, 
1216, making, in fact, two churches in one. The whole was re- 
modelled in 1864. In a marble urn at the Confession are the re- 
mains of the martyrs, SS. Lorenzo. Stephen, and Justin. The 
columns of the nave are probably from the Portico of Octavia. 
On the 8th column, r., will be seen a lizard and a frog. 

Lorenzo in Lucina, S., ch. on the Pi. S. Lorenzo, Rome, 
on the Corso, contains the tomb of Nic. Poussin, 2d column on 
r. ; and over the altar G-uido's celebrated *Crucifixion. 

" Of Master Guido Reni's, second to naught observable in Rome."— Browning. 

Louis XIII., of France, b. 1601, son of Henry IV. and 
Marie de Medicis ; married Anne of Austria ; died at the age of 



200 LOUI 

42. His reign is noted especially for the persecution of the 
Huguenots, and the reduction of their stronghold, Rochelle, after 
a siege of 12 months. Richelieu was his Prime Minister. 

Statue of Louis XIII. , in Place des Vosges, Paris, marble 
equestrian. Originally erected in 1639, but destroyed in the Re- 
volution of 1792 ; replaced by the present statue in 1829. 

Louis XIV., The Grand Monarque, son of Louis XIII., b. 
1638 ; was only 5 years of age at the death of his father. Dur- 
ing his minority his mother, Anne of Austria, was regent. He 
died at the age of 77, having occupied the throne of France the 
unparalleled period of 72 years. For a large portion of his reign 
he kept Europe in a state of warfare, in which he was at first suc- 
cessful, but lost all he had gained at the cost of the blood and 
treasure of his kingdom. His death, 1715, caused no regret to 
the nation he had impoverished. He erected the palace at 
Versailles, which thenceforth became the royal residence. 

Statue of Louis XIV., bronze equestrian, in Place des Vic- 
toires. In 1686 there was erected in this place a gilded pedes- 
trian statue of Louis XIV. Having been destroyed in 1792, an 
obelisk to the honor of the Republican Army was erected in its 
place. In 1806 this was removed to give place to a statue of 
Desaix, which, in 1814, was melted to construct the Henry IV. 
on Pont Neuf. In 1822 the present statue was erected. The 
pedestal presents reliefs of the Passage of the Rhine by the 
Grand Monarque habited as a Roman Emperor. 

Louis XV., great-gd.-son of Louis XIV., b. 1710; married 
Maria Leczinski, dau. of the King of Poland. Crowned at the 
age of 12. Entered upon various military schemes, notably that 
of the Austrian Succession, and in the end gained nothing. 
Lost Canada, and after a reign of 52 years went to his grave 
personally despised, and leaving his kingdom humiliated and 
more impoverished than when he received the government. 

Louis XVI., gd.-son of Louis XV., b. 1754; married Marie 
Antoinette, dau. of Emp. Francis I. and Maria Theresa of 
Austria. Crowned 1774. The young king at once set himself 
to reform the errors of the past administrations; but the na- 
tion was financially beyond redemption by the ablest ministers, 
aod nothing could stem the current of revolt against the throne. 
The States General met May, 1789 ; in June the State prison — 
the Bastille — was razed to the ground by the populace ; in Oc- 
tober a mob of market women marched to Versailles, forced the 



LOUV 201 

palace, and brought the king and family to Paris. Finding 
himself virtually a prisoner, the royal family quitted the Tuil- 
eries on the night of June 21, 1791, and fled in disguise; but, 
being discovered, they were seized and taken to Paris and im- 
prisoned in the Temple. In 1793 the king was tried, condemned 
to death, and on the 21st of Jan. executed in Place de la Con- 
corde, near where the obelisk now stands. His queen was be- 
headed in the same place in the following October. 

Louvre. See Part II., Louvre. P. 445. 

* Lucerne (lu-sern), Ger. Luzern (lute-sern), delightfully 
situated at the western extremity of Lake Lucerne, upon both 
banks of the Reuss (roiss), which here leaves the lake. It is sur- 
rounded by walls surmounted by nine towers, erected in 1385. 

In the midst of the finest Alpine scenery, and upon the most 
beautiful of Alpine lakes, Lucerne is among the most charming 
and popular of the numerous resorts of Switzerland. The hotels 
are situated along the edge of the lake, and offer the visitor a 
constant view of scenery whose richness and grandeur never 
abate. To the 1. is the Rigi; in front, the Blirgenstock, and to 
the r. Pilatus. 

Within the town there is little of interest, save Thorwaldsen's 
Lion Monument. 

The Second Bridge from the lake, the Capellbrucke, crossing 
obliquely, has upward of 150 paintings in the roof, representing 
the lives of the patron saints of the town. 

The Fourth Bridge, the Spreuerbriicke, is ornamented in like 
manner with " The Dance of Death." 

The Hof-Kirche, or cathedral, situated at the extreme eastern 
border of the town, is of interest chiefly for its celebrated organ. 
It possesses a fine pulpit, two side altars in carved wood, and 
some noticeable stained windows. There is usually an organ per- 
formance daily, 6£-7-£, except Sat. and the eve of festivals (1 fr.). 

** The Lion op Lucerne is i ml. to the n. of the Cathedral. 
This magnificent monument, chiselled out of the native rock in 
the side of a precipice, represents a dying lion, 28 ft. in length, 
with his paw upon the Bourbon Shield, his side still retaining a 
portion of the fatal spear. The mon. was designed by Thorwald- 
sen, in memory of nearly 800 Swiss who lost their lives in defence 
of the Palace of the Tuileries, Paris, 1792. Few works of art so 
profoundly impress the beholder, especially when visited at sun- 
set. Model is shown (free) in an adjacent building. 



202 



LUCE 




LUDO 203 

The Gletscher Garten, opp. the Lion (1 fr.). 

Stauffer's Museum, near the Lion, contains a large collection of 
stuffed Alpine animals (1 fr.). 

Specialties : embroidery, wood, ivory carvings, and crystals. 

Hotels : the following houses, all desirable, are situated along 
the lake. S. Gothard, near the station, Swan, du Rigi, Englisher- 
hof, Schweizerhof, Lucernerhof, National. 

Pensions of the first class are numerous in Lucerne and its en- 
virons, as well also in all the villages along the lake, offering an 
unlimited choice of charming retreats to the summer visitor at 
prices from 5 to 10 frs. per day. 

Excursions: By stmr., to Kiissnacht and return, 3 hrs. ; to 
Fliielen, 5 hrs.; to Alpnach, 2 hrs. To Rigi-Kulm, stmr. and 
rly., 8-10 hrs. To Pilatus, stmr. to Alpnach, thence by horse 4£ 
hrs., to Hotel Bellevue, 11 hrs. 

Routes : To Bale, 3 hrs., $1.20: $0.75; see Route 23. To Zurich, 2 hrs., $0.85; 
$ 0.60 ; see Route 26. To Milan, via the St. Gothard, stmr. to Pliielen, rly. to 
Locarno, stmr. to Arona, rly. to Milan, 16 hrs. ; also direct by rly., 8 hrs. $5.50 ; 
$4.50 ; see Route 25 to Arona, and Route 44 to Milan. To Interlaken, via the 
Brunig, stmr. to Alpnach, diligence to Brienz, stmr. to Bonigen, rly. to Interrlaken, 
10 hrs., $3. To Berne, rly. 3 hrs., $2; $1.40. To Paris, 13 hrs., $14.20; 
$10.25 ; see Route 23 to Bale, thence to Paris by Belfort. 

*Ludovisi, Villa of, Rome; Th. 8-12; Winter only. Cat- 
alogue -J fr. Permit obtained through Consul. 

1 . Boom: 20, Juno, very ancient ; 31, Tragic Mask, formerly 
mouth of a fountain. 

2. Room : * 1, Mars Reposing ; * 7, Theseus and ^thra ; * 9, 
Satyr ; 28, Barbarian ; * 55, Warrior; * 45, Medusa j ** 41, Juno 
Ludovisi, the finest head of Juno known. See Juno. 

A second Casino, distant 5 min. walk, contains a fine * Aurora 
by Guercino. (See Aurora.) From the balcony a magnificent 
* view of Rome. 

* Lugano (loo-gah'-no), Switz. On Lake Lugano, in the 
midst of wild mountain scenery ; on the route from Lucerne to 
Milan, and also from Luino to Menaggio. See Routes 25 and 29. 

* Lugano, Lake of, Switz., midway between Lakes Maggiore 
and Como, 16 mis. by 2, of irregular shape. Delightful scenery. 

From Luino on L. Maggiore to Menaggio on the L. of Como. By 
tramway from Luino, 5 mis. to Ponte Tresa ; thence by steamer 
to Lugano and Porlezza (por-let-sah), 16 mis. ; thence by tramway 
to Menaggio, 9 mis. See Routes 25 and 29. 

Luini, Bernardo (loo-ee'-nee), Lovini. 1470?-1530? b. 



204 



LURL 



at Luino, Italy ; one of the most successful of the da Vinci 
school. His works are finished with great care, full of beauty, 
serenity, and graceful tenderness ; and have often been attributed 
to Leonardo. His principal works are at Milan, and the adjacent 
Lombard cities. His Crucifixion, a noted work, is at Lugano. 

The Brera has numerous frescos of his, which have been re- 
moved from the walls where they were painted. Nat. Gall., 
London, has his Christ and the Doctors, and the Louvre nine. 

Lurlei (loor-lxe), Lo-re-lei, on the Rhine. See Route 20. 

Legend. — The water-nymph, Lore, dwelt on the rock at Ley. Hermann, the 
young son of Bruno, Count Palatinate, hearing of her beauty, resolved to seek the 
fairy. Approaching the Ley and singing one of his sweetest songs, he beheld 
the beautiful Lore beckoning him on. Lost to all but the enchanting vision be- 
fore him, his boat was drawn into the whirling eddies and Hermann was buried 
beneath the waves. The fairy was never more seen, but her voice is often heard 
repeating the words of the traveller. 

Luxembourg, The Palace of (loox-em-boor), Paris. In 
the 16th cent, de Sancy erected on this site a large dwelling 
which was purchased by Duke d'Epinay-Luxembouvg, and en- 
larged in 1583. In 1612, the place was purchased by Marie de 
Medicis, and the present structure erected in the style of the 
Pitti Palace, Florence, and called Palais de Medicis. Falling to 
her son, it was called Palais d'Orleans. It was a royal residence 
until the Revolution, 1791 ; thence a prison, in which Josephine, 
Beauharnais, Robespierre, Danton, and others were confined. 

From 1795-1800, it was the Palais du Directoire and du Con- 
sulat ; under Napoleon I., was the Palais da Senat ; in the time 

of Louis Philippe, it was the 
Chamber of Peers ; under Napo- 
leon III. , it was occupied by the 
Senate and called Palais du Senat; 
at present it is occupied by the 
Prefet de la Seine. The state 
apartments and chapel are not 
now open to the public. 

Luxembourg Gallery, in 
the Luxembourg Palace. Daily, 
ex. M. , summer, 9-5 ; winter and 
Sun., 10-4. 
Ground Floor : Modern 
Sculptures, principally of the French School, of which some are 
peculiar, not to say surprising, illustrations. 



■P3 



a. Entrance 



LYON 205 

First Floor: Picture Gallery, containing works of living 
artists. In consequence of constant removals and additions, the 
numbering is subject to such frequent changes as to render a 
catalogue of no value. 

♦Luxembourg, Garden of the, on the s. side of the Palace, 
open to the public daily. 

On the I. is the Fontaine de Medicis ; on the side toward the 
Palace, sculptures, Acis and Galatea surprised by Polyphemus ; 
toward the street, the Fontaine de Leda. 

To the s. of the Pal. fountain and long basin, around which are 
numerous statues, among which are Adam, David, Discobolus, 
Gladiator, Diana, and several noted women of France. 

Beyond the gardens, at the extreme end of the principal 
avenue in front of the Pal. , may be seen the dome of the Obser- 
vatory. Proceeding toward the Observatory, through the Lux- 
embourg Garden and passing the gateway, we come to the Eng- 
lish (or flower) Garden, in which at the r. is the place of execu- 
tion of tho Communists, 1871. At the extreme s. end of the 
English Garden is the Fontaine de 1'Observatoire. 

Lyons (lee-of/), the second city in Fr., pop. about 345,000; 
315 mis. from Paris, and 222 from Marseilles. The city, in gen- 
eral, is disappointing ; the streets are narrow and irregular, with 
tall, ungainly buildings. The more modern portions of the city 
are, however, very fine, as the Place des Terreaux, the Place 
Bellecour, and the Quays with their warehouses. 

The Place des Terreaux is associated with the bloody scenes of 
St. Bartholomew, 1572, and of the Revolution, 1794, when thou- 
sands of the citizens of Lyons here suffered death. 

The Gh. of St. Irenmus is said to have been erected over the 
grave of Irenseus, second Bp. of Lyons ; and of the remains of 
thousands of Christian martyrs, under Sept. Severus, a.d. 202. 

Marcus Aurelius, Claudius, Caracalla, Germanicus, St. Am- 
brose, St. Irenasus, and Clement IV. were natives of Lyons. It- 
has long possessed the most extensive manufactories of silk in 
the world. 

The city is situated at the junction of the Rh6ne and Saone, 
the former being crossed by seven bridges, and the latter by 
ten. 

A magnificent view is obtained from the Height of Fourvieres. 
Here is also the ch. of Notre Dame de Fourvieres, which contains 
a miraculous image of the Virgin, and, according to Baedeker, 



206 MADE 

" is visited by over one and a half millions of pilgrims annu- 
ally. "(?) 

Routes: To Paris, 10 hrs., $12.50; $9.30, To Marseilles, 7 hrs., $8.f>0; 
$6.40. To Geneva, 5 hrs., $4; $3. 

♦Madeleine, La (-leen), Ch. of, Paris. Boul. Madeleine, near 
Place de la Concorde; open after 1, daily. Commenced, 1764; 
in 1806, Napoleon decreed its completion for a Temple of Glory. 
Louis XVIII. proposed converting it into an expiatory chapel to 
Louis XVI. and XVII. and Marie Antoinette. It was completed, 
1842, at a cost of nearly $3,000,000. 

Modelled after the Parthenon at Athens, 350 ft. long, 147 wide, 
having a height of 54 ft. 

The tympanum contains an alto-relievo of the Last Judgment. 
Central figure is the Saviour ; on the r., the elect ; the I., the con- 
demned, for whom Mary Magdalen is making intercession. 

In the insurrection of 1871 , when the insurgents had been driven 
from the barricades, 300 sought refuge in this church, but an en- 
trance having been effected, the entire number was put to death. 

Madonna, The: The Virgin Mary; Notre Dame, Ft.; 
La Vergine Gloriosa, It. ; Unser liebe Fratj, Ger. ; Virgo 
Gloriosa, Lat. 

From the third century onward, the Life of the Virgin, in con- 
nection with that of the Child, became a favorite subject of 
Christian art. Under the prevailing Byzantine influences, the 
principals and accessories of the various subjects, assumed fixed 
and definite characteristics, which, in general, prevailed until 
the time of Filippo Lippi, when the freedom of modern art be- 
gan to be manifest. 

The more frequent subjects in the life of the Virgin were : 

The Nativity of the Virgin, in which there is usually a richly 
furnished apartment, with neighbors, friends, and attendants. 

The Presentation of the Virgin in the Temple, variously rep- 
resented. 

The Marriage of the Virgin, in which the priest joins the hands, 
or Joseph places the ring on her finger ; she is followed by a 
train of maidens and disappointed suitors who are breaking their 
wands or trampling upon them. (The wedding-ring is now in 
the cathedral at Perugia!) 

The Annunciation, usually in an apartment ; Gabriel comes in 
from above, winged, young and beautiful ; a lily is always repre- 
sented, and sometimes the Father, above in the clouds. 



MADO 207 

The Visitation, called also the Salutation of Elizabeth. The 
two women, and sometimes Zacharias, as priest, and Joseph, 
are present. 

The Nativity, in a stable, at midnight, in winter ; Mary in ap- 
parent suffering, prior to the 14th cent., but not since; Joseph 
leaning on his staff ; the ox and ass always present. In the 
early pictures there were also 3 angels singing ; more in the later. 

The Adoration of the Magi (mad'-je) ; the child usually has the 
hand raised in blessing ; in later pictures, Joseph is present. The 
Wise Men, their gifts, and attendants very variable. 

The Adoration of the Shepherds, with offerings of doves, lambs, 
and fruit. In some, the mother is lifting the covering from the 
sleeping child. 

The Purification of the Virgin, in the Temple before Simeon, 
the High Priest. 

The Flight into Egypt, variously delineated, but more commonly 
the Mother and Child are on an ass, and Joseph is walking be- 
side them. 

The Return is similar to the Flight, except that the Child, 
somewhat grown, is walking. 

The Repose (none prior to the 16th cent.), angels in attendance, 
Mary sometimes washing linen. 

The Holy Family, a favorite subject, pictures innumerable, 
sometimes only the Mother and Child, seldom more than 5 per- 
sons, the additional ones being Joseph, St. John, and Elizabeth. 

The Dispute in the Temple, in which the sorrow of the mother 
is made preponderant. 

The Marriage at Cana, not a favorite among the monks, on ac- 
count of their exaltation of celibacy. 

In the Crucifixions and Descents from the Gross, the mother is 
overcome with sorrow and in a swoon. 

In the Deposition, she frequently supports the body, but is 
sometimes in a swoon. 

The Death and Assumption of the Virgin ; the Death being fre- 
quently placed in the lower part of the picture, and the Assump- 
tion in the upper. In the Death, an angel places a taper in her 
hand ; in the Assumption, the Mother rises to meet her son, or 
he stands by her bedside to receive her spirit. 

In all the earlier representations of the Mother and Child, no 
sentiment appears to have been indicated but that of pure adora- 
tion ; in the 16th cent., and particularly under Raphael, mater- 



208 MADO 

nal regard for her own offspring is distinctly expressed. Indeed, 
Burckhardt says of Raphael, that, with the single exception of 
the Sistine Madonna, he painted tender, loving mothers, and 
took his chances whether or not they should be regarded as the 
mother of God. 

Among the masters with whom the Madonna has been a favor- 
ite subject are Raphael, Murillo, and Correggio ; but Raphael, 
from the exceeding beauty and the great number of his pictures, 
has come to be regarded as the great master of Madonnas. 

The term Madonna usually implies the presence of the child, 
whilst the term Virgin implies its absence. 

Madonnas, Raphael's. The following list comprises, it 
is believed, all the known authenticated Madonnas of Raphael, 



[In the South Kensington Museum, London, are two Madonnas credited to 
Raphael : 

(Madon. No. 55.) One of which appears to be a copy, or replica, of the "Belle 
Jardiniere,' 1 '' Louvre, No. 362. See Madon. No. 37. 

(Madon. No. 56.) The other, Madonna di Loreto, is probably the lost Ma- 
donna referred to in No. 12. It is now owned by Dr. Lamm of Stockholm, and 
has been loaned to the Museum. 

(Madon. No. 57.) The Ancajani Madonna, so-called, in the Berlin Gallery, is 
properly an Adoration. It is said to have been painted about 1500, for a monastery 
at Ferentello, Italy, which afterward came into possession of the Ancajani family, 
hence its name. 

The Child is upon the ground; on the left, Mary, Joseph, and two angels ; on 
the right a king kneeling and a procession of kings advancing. Above are thrr-e 
angels. It is doubtful if this is the work of Raphael. C. & C. refer it to Lo Spagna.] 



MADO 



209 



No. 1. Berlin. — The Diotalevi Madonna, Gallery, No. 147. 
Three figures. Child sitting on the Mother's lap. She has her 
left hand on. the Child, and her right on the shoulder of St. John, 
who has his hands folded across his breast. 



No. 2. Berlin. — Madonna coi Bambini (Madonna with the 
Children), Gallery, No. 247A. Four figures. An early work. The 
Virgin is sitting in a rocky landscape and holding the Child, who, 
with John Baptist, holds a scroll. St. John, at the Mother's knee, 
is looking up at the Christ. Purchased at Naples for $33,700. 

No. 3. Berlin. — Gasa Colonna Madonna, Gallery, No. 248, 
from the Colonna Pal. in Rome, in which it was preserved. 





No. 4. 

Mother and Child only. The right arm of the Mother is around 
the Child, who is sitting on her lap and has his right hand in the 
neck of her dress. The Mother holds an open book in her left 
hand. (1507.) 

No. 4. Berlin. — Madonna of the ThistlefincJi, Gallery, No. 141. 
One of Raphael's earliest works. Mother and Child only. The 
Mother has her left hand at his feet and her right holding an 
open book which she is reading. The Child, poorly drawn, is 
seated in her lap and holds a goldfinch in his left hand. (1504 ?) 

No. 5. Berlin. — Madonna with SS. Francis and Jerome, Gal- 
lery, No. 145. Four figures. Child sitting on the Mother's lap, 
both her hands clasping his body. The heads of SS. Francis and 
Jerome at the same height as hers ; one wears a hat. 

No. 6. Blenheim. — * Blenheim Madonna, now in the Na- 
14 



210 



MADO 



tional Gallery, London, Eng. ; painted for the church of Serviti, 

Perugia. Four figures. The Virgin sits on a throne ascended 

by three steps, holding the child with the right hand, and in 

>er left a small open book, into which the child seems gazing. 





No. 5. 



No. 6. 



On the left, is John Bap. holding a cross and pointing with his 
right hand toward the Christ. Nicholas of Bari stands on the 
right in episcopal robes with book and crozier. (1505.) 

No. 7. Dresden : **Sisti?ie Madonna, Gallery, No. 80, painted 
about 1518 for the Monastery of San Sisto, Piacenza, Italy, 

whence its name. Purchased by King 
Augustus III. for $45,000. Six figures. 
The Madonna, of heroic size, is stand- 
ing upon the clouds and sustaining the 
child, also heroic, with her arms, and 
looking with timid anxiety into the dis- 
tance. On the left is Pope St. Sixtus, 
on the right St. Barbara ; below are two 
cupids. 

This masterpiece of Raphael has, by 
many critics, been regarded as the 
first painting in the world. In force and 
sentiment, as an altar-piece, and in the 
ease and harmony of its composition, this work has hardly an 
equal ; whilst in the dignity and grandeur of the Divine Mother, 
no work can be compared with it. The peculiarly " divine" ex- 
pression of the Madonna's face is due in part to an exaggerated 
breadth between the eyes, a characteristic which the Greek sculp- 




No. 7. 



MADO 



211 



tors were wont to make use of to give divinity of expression to 
the statues of their gods, and partly to the peculiar non-focusing 
of the eyes, by which they are made to look at no particular point, 
but into indefinite distance. 

Saint Barbara, however devout, is apparently not wholly un- 
conscious of personal grace. 

" The head of the Virgin is perhaps nearer the perfection of female beauty and 
elegance than anything in painting." — Wilkie. 

11 The Madonna is one of the most wonderful creations of Raphael's pencil. 
There is something indescribable in her countenance, which expresses a timid as- 
tonishment at the miracle of her own elevation, and, at the same time, the free- 
dom and dignity resulting from the consciousness of her divine situation. The 
Child rests natnrally, but not listlessly, in her arms, and looks down upon the 
world with the grandest expression. Never has the loveliness of childhood been 
blended so marvellously with a solemn consciousness of a high calling as in the 
features and countenance of this Child. The eye is at first so riveted on these 
two figures as hardly to do justice to the dignity of the Pope, the devotion of St. 
Barbara, or to the rapt expression of the two angel-children." — Kugler. 

"A veil flows from her head ; she seems lost in profound thought concerning 
the divine mystery, which she clasps with motherly devotion ; for a Child is 
throned in her arms whose lofty mission is foreshadowed in his childish features, 
while the depth and majesty of his eyes express his divinity as the Redeemer of 
the world. The saintly Pope Sixtus is reverently looking upward, the impressive 
dignity of his bearing in strong contrast with St. Barbara, who stands opposite 
him, with lovely demeanor, her graceful head bowed and her eyes downcast be- 
fore this revelation of power and glory. The two enchanting angel boys, leaning 
on the lower division of the picture, give the last 
touch of beauty to this magnificent work. It may 
be said that, in this picture, Raphael has united 
his deepest thought, his profoundest insight, his 
completest loveliness, which is, and will continue 
to be the apex of all religious art." — LubJce. 

No. 8. Florence. — Madonna del Bal- 
daeddno, Madonna of the Canopy, Pitti 
Gallery, No. 165. Ten figures. The Vir- 
gin, holding the Child, is seated upon an 
elevated throne ; on the right are SS. 
Peter and Bruno, on the left SS. Augus- 
tine and Anthony. Above are two angels 
holding back the curtains of the canopy 
or baldacchino; below are two boy angels 
with a scroll of music. 

The picture was commenced by Raphael, 1508 ; the angels and 
St. Bruno were added by another artist about 1514, and the can- 
opy about 1700. 




212 



MADO 



No. 9. Florence. — * Madonna del Cardellino, Madonna of the 
Goldfinch, Uffizi, Tribune, No. 1129. Three figures. The Vir- 
gin, holding a book, is seated on a rock in the foreground of a 
pleasant landscape, with trees on either side in the distance. The 





No. 9. 



No. 10. 



child John, on the left, is presenting a goldfinch to the child 
Christ, who stands between his Mother's knees. (About 1506.) 

" There is the Madonna of the Goldfinch, pure and candid, like an angel whose 
soul is a bud and not yet in bloom." — Taine. 

No. 10. Florence. — * Madonna del Granduca, Pitti Gall., No. 

266. Two figures. Half-length standing figure, Mother holding 

the Child upon her left arm, with her right hand against his side ; 

Child's left hand at the neck of the Mother's dress. (1504.) 

" Although slightly and very simply painted, especially in the nude parts, this 

picture excels all Raphael's previous Madonnas in the charm of profound feeling. 
We feel that no early painter had ever understood how 
to combine such beauty with so intense an expression.*' 
— Kugler. 

"Five or six pictures by Raphael stand out from the 
rest. One is that Madonna which the Grand Duke took 
with him on his travels. ... A small diaphanous 
white veil covers the fine blonde hair up to the edge of 
the brow; the eyes are lowered, and the complexion is 
of extreme purity ; a delicate tint like that of the wild 
rose tinges the cheeks, and the small mouth is closed. 
She has the calmness and innocence of a German virgin." 
— Taine. 

No. 11. Florence. — * Madonna delV lm- 
pannata. So called from the paper or cloth window. Pitti Gall., 
No. 94. Five figures. Executed partly by Kaphael. On the left 
are Elizabeth and another saint. The Child rests partly in the 




MADO 



213 




Mother's arms with one foot on the knee of Elizabeth, toward 
whom he is looking; one hand at the neck of his mother's dress ; 
John is seated at the right, pointing with his left forefinger to the 
Christ. The figure of John is a later 
addition. 

' ' The incident is most charming ; the two 
women have brought the Child, and hand it to 
the mother, and while the boy turns, still laugh- 
ing, after them, he takes fast hold of the mother's 
dress, who seems to say, ' Look, he likes best to 
come to me. 1 " — Burckkardt. 

No. 12. Florence. — Madonna di Lo- 
reto. The original of this picture has 
long been supposed to be lost, and it was 
only known from a copy in the Louvre, 
No. 378, and one in possession of Mr. 
Lawrie, of Florence. Recently, how- 
ever, the original is believed to have been found in Stockholm, 
having been taken to Sweden at the beginning of the century. 
Three figures. The Mother is lifting with her right hand the 
covering from the Child, who apparently has just awakened from 
sleep upon a pillow ; both his hands are raised to meet his Moth- 
er's. Joseph's head appears over her 
left shouder. (See Nos. 39, 41, 54.) 
No. 13. Florence. — **Madonna, 
della Sedia, Seggiola, the Chair Ma- 
donna, Pitti Gall., No. 151. Three 
figures (1516). Copy in Dresden, 
No. 83. 

11 She is a beautiful Grecian or Circassian 
Sultana ; her head is covered with a sort of 
turban, while striped oriental stuffs of bright 
colors and embroidered with gold wind around 
her form ; she bends over her child with the 
beautiful action of a wild animal, and her 
clear eyes, without thought, look you full in the face." — Taine. 

" The most beautiful picture in the world, I am convinced, is Raphael's Ma- 
donna della Seggiola." — Hawthorne. 

" The rare beauty of these little infantile forms, and sweet, holy, motherly ex- 
pression of the mother, the lovely tenderness of the attitude, and, withal, the 
wondrous expression of beauty upon the children's faces, one can only see in the 
painting, for no idea of its artistic power can be had from any engraving I ever 
saw." — Guild. 

No. 14. Florence. — * Madonna oftfieWell, Uffizi, Tribune, No. 




No. 13. 



214 



MADO 




1125. Three figures. The Virgin seated, with her right arm 
around the Child who stands in her lap ; he has his left arm about 

the Mother's neck, and the right in her 
dress ; he turns his head toward St. 
John, who holds in his left hand a cross 
and in his right a papyrus scroll with 
the inscription Ecce Agnus Dei, which 
he extends to the Christ. In the back- 
ground, at the left, is a fine landscape 
in which are the ruins of an old castle 
and several figures about a well. 

No. 15. Geneva, Switz. — * Madonna 
of the Goldfinch, M. Reviliod's Coll., No. 
12, Rue de l'Hotel de Ville. Similar to, 
No. 14. and claimed to be the original of the 

Cardellino of Florence. Regarded by C. & C. as a copy. 

No. 16. Genoa. — * Madonna delta Bovere, Palazzo Bianco ; so 
named from the oak under which the holy family is reposing. It 
is a replica, with some variations, of the Madonna de la Maison 
d'Albe, in St. Petersburg. See No. 46. 

No. 17. London. — ** The Bridgewater Madonna, in the Bridge- 
water Gallery, formerly in the Or- 
leans Coll., and known as La plus 
belle des Vierges ; Mother and Child 
only. The Child, stretched across 
the Mother's lap, rests his head 
against her left shoulder. Her left 
hand is against his thigh and her 
right near his shoulder. Imperfectly 
preserved. (1512.) Copies exist in the 
Nat. Gall. , Berlin Gall. , and Naples. 
No. 18. London. — Madonna of the 
Palm-tree, La Vierge au Palmier, in 
the Bridge water Gallery, No. 35, for- 
merly in the Orleans Coll. Three 
figures ; the Mother on the left, be- 
neath a palm-tree, is holding by his 
girdle the Child who, seated in her 
lap, is reaching for some flowers which Joseph is presenting as 
he leans upon his staff. Circular picture, full length figures ; that 
of Joseph of doubtful authenticity. (1506.) 




No. 17. 



MADO 



215 



No. 19. London. — Madonna del Passeggio, Bridgewater Gal- 
lery, was formerly in possession of the Duke of Urbino, Philip II. 
of Spain, Emp. Rudolph of Ger., Gustavus Adolphus, Queen 




No. 18. 







No. 19. 



Christina of Sweden, Duke of Braciano, and the Duke of Orleans. 
Four figures. The Mother is standing in a pleasant field and 
clasping with her left hand the left arm of the Child standing in 
front. The child John with the cross, upon the left, has his face 
near the Christ's. At a distance on the left in the background, 
near two trees, is Joseph half hidden by a hill. Attributed by 
some to Fr. Penni. Several repetitions. 

No. 20. London. — **Garvag7b or 
Aldobrandini Madonna, Nat. Gall., No. 
744. Three figures. The Child, reclin- 
ing against his Mother's right arm, is 
presenting with his right hand a flower 
to John Bap., who has raised his left 
hand to receive it. The Virgin, half 
length, has her left arm around the 
youthful John. (1509?) 

No. 21. London. — *La Vierge aux 
Candelabres, Madonna of the Candela- 
bra, in possession of Hon. Mr. Johnstone, 
London; formerly in the Borghese Pal., 

Borne, afterward owned by Lucien Bonaparte, the Duke of Lucca, 
and Mr. Monroe of Eng. Exhibited in N. Y. 1883. 

A circular picture of the Mother and Child, and an indis- 
tinct face on either side, as also a burning lamp. The Child is 




No. 20. 



216 



MADO 



sitting on its Mother's lap with both hands upon her neck. Hei 
left hand rests against his body. (1515 ?) 
No. 22. London. — *£Jcce Agnus Dei (Behold the Lamb of God), 





No. 21. 



No. 22. 



La Vierge a la legende, in possession of the Hon. Mr. Johnstone, 
London. Three figures. The Child, in its Mother's lap, is holding 
in his left hand one end of a scroll, the other end of which is held, 
by John, who is standing on the left. (About 1517.) 

No. 23. — Golonna Madonna, Eng., executed for the convent ofc 1 
S. Antonio, Perugia ; afterward came into possession of the Cor 

lonna family, the King of Naples. 1\ 
general composition much like the del 
Baldacchino. Seven figures. The Vir- 
gin seated upon an elevated throne be- 
neath a canopy, is holding the Child up 
on her right side. Upon either side ii 
front, is a saint with a book, that upoi 
the right with a sword also, behind eac\> 
of these upon the throne steps, is a fe» 
male figure presenting a palm branch, 
while upon the throne dais on the right, 
is the child John with hands clasped look 
ing up to the Christ. 
No. 24. — Formerly the Rogers Madon 
na, from the Orleans Coll. Two figures ; the Virgin half length* 
much injured. The Mother is half hidden by a parapet upoiq. 
which the Child is standing with his arms around the Mother's 




No. 23. 



MADO 



2tt 



neck. Her right hand clasps his right foot, her left is upon his 
waist. (1512.) 

No. 25. Panshanger, Eng., seat of Earl Cowper.— ** The 
Panshang&r Madonna. Two figures. Child seated on a pillow 





No. 24. 



No. 26. 



in the Mother's lap, with the left hand pushed into her bodice ; 
her left hand is raised near his. (1508.) 

" Borders on mannerism in the fractious expression of the child. The counte- 
nance of the Madonna is, however, ex- 
tremely sweet." — Kugler. 

No. 26. Pan sh anger, Eng. 
— * The Pink Madonna. Two 
figures. The Child, seated up- 
on a pillow in the Mother's lap, 
has a pink in his left hand, the 
right resting on the Mother's 
left. She also holds a pink in 
her right. (About 1505.) 

No. 27. Madrid. — * * Ma- 
donna of the Lamb. Madonna 
del Cordero, Prado, No. 364, 
formerly at the Escurial. Three 
figures. On the left, the Child 
astride a procumbent lamb, is 
looking up to Joseph,who bends 
forward toward him with both 
hands clasping a long staff. Between them is the Virgin with 
both hands upon the Child's shoulders. (1507.) 




No. 25. 



218 



MADO 




No. 27. 



" This is one of the gems of the master ; and the original of many inferior rep* 
licas. The head of Joseph is exquisite." — EastlaTce. 

No. 28. Madrid. — Madonna of the Oak, or Madonna of the 

Lizard ; Madonna della Lucer- 
tola; Madonna del Lagarto, 
Prado, No. 371. Four figures 
beneath an oak tree. On the 
left, John and the Christ are 
holding a scroll bearing the 
words '• Eece Agnus Dei" and 
both also have one foot upon 
the cradle. The Virgin is hold- 
ing the Child upon her lap, 
while her left arm rests upon 
a piece of antique sculpture, 
upon which Joseph is also lean- 
ing with one hand at his chin. 
(1517.) Copies in St. Peters- 
burg, and the Pitti, Florence. 

No. 29. Madrid. — Madonna 
of the Pearl, La Perla, Prado, 
No. 369. Five figures. The Virgin has her left hand resting on 
the shoulder of St. Anne, and her right upon the thigh of the 
Child, who, partly resting in her lap, stands with one foot in his 
cradle, with both hands extended to- 
ward John. In the background at the 
left is Joseph, at the right, a walled 
city. 

This picture was in the collection of 
Chas. I. of Eng., and was sold by 
Cromwell to the Spanish Ambassador 
for Philip IV. of Spain. The reported 
exclamation of Philip on seeing it, 
"This is my pearl," has given it a rep- 
utation which the work seems never 
to have warranted. Kugler says that 
it has been greatly over-estimated, 
and that portions of it are believed to be by Romano. (1518.) 
No. 30. Madrid. — ** Madonna del Pesce, or Madonna of the 
Fish, Prado, No. 365. Five figures. The Madonna, seated, is 
holding the Child in her arms ; upon the left an angel is present' 




No. 28. 



MADO 



219 



ing Tobias, who, kneeling upon one knee, holds a fish in his 
right hand. Upon the right, book in hand, is St. Jerome kneel- 
ing, his lion at his feet. (1513.) 

No. 31. Madrid. — * Madonna of the Hose, La Rosa, Prado, 
No. 370. 

No. 32. Munich. — * Madonna Canigiani, Old Pinakothek, No. 



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No. 29. 



No. 30. 



1049. Five figures. The composition of this picture is somewhat 
artificial in its pyramidal structure. Joseph leaning upon his 
staff stands as the apex ; seated below are the Madonna and 
Elizabeth facing ; and below and be- 
tween them, the Child and John 
holding a scroll. In the background 
is a pleasing landscape. Obtained 
by Elector Wilhelm as a part of 
the dowry of the Princess de Medici. 
(About 1507.) 

No. 33. Munich. — ** Madonna detta 
Casa Tempi, or Madonna of the Tem- 
pi family ; Old Pinakothek, No. 1050. 
Two figures, two-thirds length. The 
Madonna standing is fondly clasp- 
ing the Child in her arms, while his face rests against hers. 

Purchased by Louis I. in 1829. (About 1507.) 

No. 34. Munich. — * Madonna della Tenda, named from the cur- 
tain ; No. 1051. Three figures. The Madonna seated, with the 
right side toward the beholder, the face showing in profile. She 
embraces the Child with her right arm. The right arm of the 




No. 32. 



220 



MADO 



Child rests along the Mother's. The face of John, directly be- 
hind the head of the Child, is partly hidden. A replica is in 
the Turin gallery. See No. 50. 
No. 35. Naples. — Madonna col divino amove, Nap. Mus., Sala 





No. 3E 



No. 34. 



Grande, No. 22. Five figures. The Child, sitting on the Moth- 
er's lap, has the right hand raised in blessing. John is kneeling 
before him with his right hand upon his heart, and his left hold- 
ing a cross. 

The Virgin has her hands devoutly clasped, and Elizabeth is 
sustaining the uplifted arm of the Child. Joseph appeal's in the 
background on the left. Attributed by 
some to Romano, but Kugler regards it as 
genuine. (1512 ?) 

No. 36. Naples. — Madonna delta Gatta, 
Madonna of the Cat, Sala Grande, No. 5. 
Five figures. Supposed by Kugler to be 
a copy by Romano of the Madonna of the 
Pearl (see No. 29), the principal variation 
being in the architectural background, 
and in the addition of the cat and plate 
on the floor at the right. 
No. 37. Paris. — ** La Belle Jar dinilre, 
Madonna in the Garden ; Louvre, No. 362. Three figures. The 
Madonna is sitting in the midst of a pleasing landscape, with the 
Child standing on both feet at her right knee, and John kneeling 
at the left. The Child has his left hand in hers, and the right 
against her knee. John has his right grasping the cross, and his 




No. 35. 



MADO 



221 



left on his knee. Raphael painted two replicas of this work; 
see No. 51. (1507.) Copy in Dresden, No. 85. 
No. 38. Paris. — Madonna au Berceau, Madonna of the Cradle • 




No. 36. 



No. 87. 



Louvre, No. 365. Four figures. The Virgin, seated upon the 
ground beneath some trees, sustains the Child, who stands in his 
cradle and caresses the cheeks of John with both hands. Has 
been attributed by some to Romano, and by others to Grarofalo. 

No. 39. Paris. — La Vierge au Diademe, La Vierge au Voile ; 
Louvre, No. 363. Three figures. The Madonna kneeling in a 
landscape is lifting a veil from the sleep- 
ing Child, whilst her left rests across 
the shoulders of John, who is kneeling 
with clasped hands. Picture is much 
injured. Executed only in part by Ra- 
phael. 

No. 40. Paris. — Madonna of Fran- 
cis I.; Louvre, No. 364. Seven figures. 
The mother is supporting the Child, 
who stands with the left foot in his 
cradle. Behind him, to the right, is 
John, with clasped hands, sustained by 
Elizabeth. Back of this group are two angels, one of whom is 
about crowning the Virgin with a wreath. Joseph in the back' 
ground, on the left, supports his head with his right hand. 




No. 38. 



222 



MADO 



No. 41. Paris. — Madonna de Loreto ; Louvre, No. 378. Three 
figures. See Nos. 12, 39, 54. 
No. 42. Paris. — Orleans Madonna, now in possession of the 




///fey 




No. 39. 



No. 40. 



Duke d'Aumale. Madonna and Child only. The Mother is hold- 
ing the Child on her lap, with her left hand clasping his right 
foot ; he has both his hands in the neck of her bodice. (1507 ?) 
No. 43. Perugia. — Alfani Madonna. The Madonna is hold- 
ing the Child, who stands in her lap. 
Above in the corners are two cherub 
heads. 

No. 44. Pesth. — The Esterhazy Ma- 
donna; Gallery, IV., No. 180. Three 
figures. The Madonna is supporting with 
her right arm the Child, who is seated 
upon a wall and leaning forward, with his 
right arm outstretched toward St. John, 
who is kneeling on the left knee with 
his face turned away reading a scroll in 
his right hand. A walled city with tow- 
ers appears in the left horizon. A copy 
is in the Wendelstadt Gallery in Frankfort-on-the-Main. 

No. 45. Petersburg, St. — * Madonna with the Beardless Jo- 
seph; Hermit., No. 37. Small picture of three figures, half 
length. The Child, seated on its Mother's lap, turns to look up at 
Joseph, who is at the right with his hands crossed on the top of 




No. 42. 



MADO 



223 



his staff. The Child has his left hand at the neck of the Moth- 
er's bodice. Picture finished with the greatest care. (1506.) 

No. 46. Petersburg, St.— ■* Madonna Casa d'Alba ; Hermit- 
age, No. 38. Circular picture, containing three figures. The 
Madonna is seated in a pleasant 
landscape, holding in her left 
hand a book closed upon the 
forefinger. The Child, standing 
with one foot upon the ground, 
leans against her, holding St. 
John's cross in his right hand. 
John is kneeling on the left. A 
replica, Madonna della Rovere, 
is in Palazzo Bianco, Genoa ; a 
copy also in the Pal. delle Torre, 
Ravenna. 

No. 47. Petersburg, St. — 
Madonna Casa Conestabih ; 
Hermit. , No. 36E ; a circular 
picture of Virgin and Child only. 
The Virgin, half length, standing, sustains the Child on her hands, 
holding at the same time in her right a book from which she is 
reading, and into which the Child is intently gazing, his right 
hand holding the book. (About 1504.) 

No. 48. Petersburg, St. — * Madonna del Lagarto ; Hermitage, 




No. 45. 





No. 44. 



No. 46. 



No. 43 ; a replica or copy of the Madonna of the Oak, at Madrid. 
See No. 28. Now generally believed to be the work of G. Ro- 



mano. 



224 



MADO 



No. 49. Rome.— * Madonna di Foligno, La Vierge au Donat&ire, 
Vatican Gall. Seven figures. The Madonna, holding the Child, 
is seated upon the clouds above the distant city of Foligno, and 





No. 47. 



JNo. 51. 



surrounded by angels. Upon the left are John Bap. and St. 

Francis ; upon the right, Sigismondi Conti, the donor, and St. 

Jerome. Between these groups stands a cherub with a tablet. 

A rainbow encircles the city, 
whilst a thunderbolt or bomb falls 
upon it. (1511.) 

"The Madonna and the Child also, who 
turn to the donor, are in attitudes which, 
however graceful, are not perhaps suffici- 
ently dignified for the majesty of the Queen 
of Heaven. The expression of the Madon- 
na's countenance is extremely sweet, but 
belongs more to the gentle woman than to 
a glorified being." — Kugler. 

No. 50. Turin. — Madonna della 
Tenda, Acad, delle Scienze, No. 
373 ; a replica (or copy) of the 
picture at Munich. See No. 34. 
No. 51. Vienna. — Madonna aux 
Herbes, Virgin in the Meadow ; 
Belvedere. This is a replica of 
the Belle Jardiniere in the Louvre. 
See No. 37. Three figures. The 
Madonna sitting in a pleasant landscape, with the left hand upon 
the Child, who stands before her bending forward toward the 




MADO 



225 



kneeling St. John, whose cross he clasps with his right hand. 
(About 1506.) 

No. 52. Vienna. — La Riposo, The Repose ; Belvedere. Four 
figures. The Virgin, kneeling, bends forward with the Child to- 





No. 52. 



No. 53. 



ward St. John, who, kneeling, holds some fruit with his left 
hand. Joseph takes John by the left arm as if to bid him rise. 
In the background the nose of an ass may be seen beneath the 
palm leaves. 

No. 53. — Madonna among Rains. Four figures. Madonna, Child, 
and St. John, in a field, with a ruined arch on the right. The 
Madonna, full length, standing, with 
her right hand touches the Child, who 
is seated upon a piece of sculpture. St. 
John is kneeling upon the left, and 
holding his cross with both hands. 
Joseph, in the background under an 
arch, on the right. A walled city ap- 
pears in the horizon on the left. This 
picture is probably at St. Petersburg. 

No. 54. La Vierge au Silence. Three 
figures. The Mother is kneeling in a landscape, and lifting with 
her right hand a veil from the sleeping Child ; her other hand 
rests upon the waist of John, who kneels upon both knees at her 
left, and with his right hand points to the Christ, whilst his left 
rests upon the Mother's knee. In the distant horizon on either 
side is a village. 

The location of this picture is unknown. 
15 




No. 54. 



226 



MAGD 




Nos. 55, 56, and 57. See p. 208. 
Madrid and Spain. See p. 570. 

Magdalen, represented in art as a beautiful young woman 
under penance for the evil life over which she is supposed to be 
penitent. She is usually represented partly draped, frequently 
lying on the ground in a cave or some secluded place reading, 
with a skull near by. 

**I. Batoni's Magdalen, Dresd., No. 143; a full-length 
figure lying upon the ground, with the hands clasped and the 
hair falling and covering part of the bust. This and the follow- 
ing picture in this same gal- 
lery have long divided opinion 
as to their relative merits. 

**II. Correggio' s Mag- 
dalen, Dresd., No. 170; a 
small picture of exquisite 
beauty. 

" The Reading Magdalen is one of 
the most bewitching creations of art. 
She lies upon the ground, her blue 
drapery relieved against the sombre 
green of the landscape. Her head is 
leaning on her hand, and her golden hair floats down her shoulder and veils her 
bosom. Her drooping eyes are attentively fixed upon her book, and her alabaster 
vase is on the turf beside her. 

" This little gem of the gallery, so exquisitely painted, has always found most en- 
thusiastic admirers. We are told that the princes of Este carried it with them in 
all their journeys, and that the King of Poland kept it under lock and key, in a 
frame of jewelled silver. It was once stolen from the Dresden collection, and is 
now securely fastened to the wall." — liadcliffe. 

III. GrUiDO's Magdalen, bust only, head raised and eyes up- 
turned. Louvre, 319 ; Nat. Gall., 177; Liecht., No. 23. 

IV. Titian's Magdalen, Pitti, No. 67. 

"The picture beams with betraying and bewitching beauty. The luxuriant 
fulness of the figure, the rich, ripe cheek, the eyes whose passionate fire is not 
quenched by the tears which fill them, and the wealth of golden hair — such hair 
as none but Titian could paint — have more of earth than of heaven, and breathe 
an atmosphere of mortal enchantment, which fascinates and fixes the wandering 
gaze. " — Hillard. 

" This Magdalen is very coarse and sensual, with only an impudent assumption 
of penitence and religious sentiment, scarcely so deep as the eyelids ; but it is a 
splendid picture, nevertheless, with those naked, lifelike arms, and the hands 
that press the rich locks about and so carefully permit those voluptuous breasts 
to be seen. She a penitent ! She would shake off all pretence to it as easily as 
she would shake aside that clustering hair." — Hawthorne. 



Magdalen — Correggio. 



MAGI 227 

**V. Carlo Dolci's Magdalen, Uffizi, No. 186. Half-length 
figure ; face of great sweetness and beauty, upturned but not un- 
pleasantly ; large, full, and expressive eyes; hair falling in curls 
over both the shoulders ; hands crossed over the breast, the right 
holding a vase. Penitent, no doubt, but conscious she is pretty. 

**VI. Murillo's Magdalen, Berlin, No. 408. Bust partly 
covered by the luxuriant tresses which fall upon both the shoul- 
ders, otherwise nude. Face upturned, right shoulder only visible. 
Remarkable for the soft voluptuous tone of beauty pervading the 
entire figure. 

Magi, The (mad -jee), The Three Kings. In the fourth 
cent. Empress Helena discovered the bones of the Magi, and 
took them to Constantinople. About seven hundred years after- 
ward, during the First Crusade, they were again discovered and 
taken to Milan, whence they were carried by Barbarossa to 
Cologne, where they continued their miraculous energies. 

These kings were Jaspar or Caspar, who brought gold from 
Tarsus, represented in art as very old with gray beard ; Melchior, 
who brought frankincense from Arabia, as of middle age ; and 
Balthasar, who brought myrrh from Ethiopia, as young and 
sometimes black. See Cologne Gath. , Chapel of the Three Kings. 

Majolica (may-yol'-i-ca) . See Pottery. 

Malmaison (mal-may-sofi), Rueil; ten mis. from Paris, by 
rly. from sta. St. Lazare ; 1 ml. from station. Chateau where 
Josephine resided after her divorce, in 1809, and where she died, 
1814. She was entombed in the church of Rueil. The chateau 
was occupied for a brief time by Napoleon I., in 1815, imme- 
diately after Waterloo. 

*Mamertine Prison, The (mam'-er-teen), Borne ; adja- 
cent to the Arch of Sept. Severus, in the Forum. Over the 
prison now stands the ch. of S. Pietro in Carcere, through which 
entrance is made. The prison consists of two cells excavated in 
the solid rock, one above the other. The upper, called the 
Mamertine, constructed by Ancus Martius, B.C. 600, is about 16 
ft. deep and 20x30 in size ; the lower, called Tullium, from Tul- 
lius, a spring, constructed by Severus Tullius, B.C. 578, is 
spherical and about 20 ft. in diam. There was formerly no 
entrance to either of the cells, except an opening at the top, 
through which the condemned were let down into the upper cell, 
through the floor of which a similar opening led to the lower one. 
A modern stairway has been constructed for visitors. 



228 MANT 

There seems to be no doubt among antiquaries that these are 
the Mamerline prisons of ancient Rome, and that here occurred 
the many tragedies related by Roman historians ; that here the 
Decemvirs, Appius Claudius, and Oppius, committed suicide ; 
that Jugurtha was starved to death by Marius ; that Vercinget- 
orix, the brave leader of the Gauls ; Sejanus, minister of Tibe- 
rius; the accomplices of Catiline; and Simeon Barjoras, the last 
defender of Jerusalem, were all put to death. 

From a staircase in front, Cicero announced the execution of 
the Catiline conspirators, and near the same the Emp. Vitellius 
was murdered. Church legends state that Peter and Paul were 
here imprisoned. A pillar is shown to which they were for 
months chained ; also an indentation in the stone wall where the 
jailer thrust Peter's head; and the spring which burst forth 
miraculously to enable Peter to baptize his jailers. (The spring 
is mentioned by Plutarch as existing a century and a half prior.) 

" Methinks there cannot be in the world another such an evil den, so haunted 
with black memories and indistinct surmises of guilt and suffering." — Hawthorne. 

M an teg n a, Andrea (-tain'-ya), 1431-1506, b. near Pa- 
dua, Italy ; was the pupil of Squarcione ; married the daughter 
of Jac. Bellini ; became the greatest painter of his time in 
northern Italy. In invention, perspective, foreshortening and 
color, his work is that of a master. 

Among his best works are an Entombment, in the Vatican ; a 
Parnassus and a Madonna, in the Louvre ; and a series of nine 
pictures — The Triumph of Caesar — at Hampton Court ; much 
injured by restoration. lie was eminent as an engraver as well 
as a painter, "being the first who engraved his own designs." 

"No more remarkable painter ever lived. In power of drawing the human 
figure, he is almost unrivalled, though occasionally his figures are too long." — 
Kugler. 

Principal Works : Belv., nine ; Bergamo, 187, and a portrait ; Berlin, 27, 29, 
9?; Brera, 301, 187; Doria, II. 15; Frank., 13; Hamp. Ct., 797: Louvre, 250- 
1-2-3; Madrid, 295?; Mantua, Castella di Corti, Frescos; Munich, 549?; Naples, 
Lomb. Sch., 46 ; Nat. Gall., 274, 902 ; Perugia, 437 ; Sciarra, portrait ; Turin, 
355 ?; Urn., 1025, 1111, 1121 ?; Vat., a Pieta ; Venice, 273. 

Marat (mah-rah), one of the leaders of the Reign of Terror 
in France, was stabbed by Charlotte Corday, at No. 20 Rue de 
l'Ecole de Medecine, Paris. 

Marcel I us, (1) M. Claudius, a distinguished general of the 
2d Punic War ; conquered Syracuse ; 5 times consul ; d. B.C. 208. 
(2) M. Claudius, consul B.C. 51; enemy of Caesar ; mentioned 



MARC 229 

in Cicero's oration, Pro Mareello. (3) C. Claudius, bro. of 
No. 2, also an enemy of Cassar, consul B.C. 49. (i) C. Claud- 
ius, cousin of the two preceding; consul B.C. 50; enemy of 
Cassar, but pardoned after Pompey's defeat. (5) M. Claudius, 
son of No. 3 and Octavia, niece of Augustus ; adopted by Aug. 
and married his daugher Julia b. c. 25. He had been selected by 
Aug. as his successor, but he died B.C. 23. 

Ma reel I us, Theatre of, Rome, Via Montanara; com- 
menced by Julius Caesar, completed by Augustus, and dedicated 
to Marcellus B.C. 13. Had seats for 30,000 ; was injured in the 
burning of Rome by Nero ; restored by Vespasian ; burned again 
in time of Titus and restored by Sept. Severus ; converted into a 
fortress 1086. Pope Urban II. took refuge here 1099, and died 
here 1118. About 1220 it came into the possession of the Savelli, 
who retained control of it until the extinction of the family, 1712, 
when it was purchased by the Orsini, to whom it still belongs. 

The earth has accumulated to the height of 12 ft. above the 
original base. The exterior is much like the Coliseum, which 
appears to have been modelled after it. The arcades are now oc- 
cupied as shops. 

Maria, S., degli Angeii, ch., Rome. See AngelL 

Maria, S., del Carmine, ch., Florence. See Carmine. 

Maria, S., Maggiore (san-tah-niah-ree'-ah-niad-jo'-re), ba- 
silica, Rome, Via Quartro-Fontana, midway between the Pi. di 
Spagna and the Porta Maggiore ; called Maggiore from its being 
the largest church dedicated to the Virgin. It is also the third 
basilica in rank, and was founded 352. The site was designated 
by a miraculous fall of snow in this place in August, the ceremony 
in commemoration of which occurs Aug. 5th, when a shower of 
white rose -petals is thrown from an aperture in the ceiling. 

It has been rebuilt and renovated, the last time, 1743, until 
nothing remains of the ancient structure, though its basilica style 
is the best preserved of any in Rome. 

In the pwtico is a statue of Philip IV. of Spain. The high al- 
tar is a porphyry sarcophagus, containing the remains of the 
Evangelist Matthew. 

In the nave, 1 , tomb of Nicholas IV.; r., Clement IX. " The 
mosaics in the upper wall of the central nave, dating 450, are 
biblical subjects, but taken from Trajan's column." In the Ca- 
pelle del Crocefisso, are five boards of the Manger of Bethlehem. 
The *Sistine Chapel, in the r. transept, richly decorated, contains 



230 MARI 

the tomb of Sixtus V. On the opp. side of the ch. is the *Borgh- 
ese Chapel, 1608, containing a painting of the Virgin, by St. Luke, 
which St. Gregory the Gt. carried in procession to arrest the 
plague, 590. In this chapel are the monuments of Paul V. and 
Clement VIII. , who condemned the Cenci family. 

In front of the basilica is a magnificent column, found in the 
Basilica of Constantine, the shaft, of which, 47 ft. in length, 
erected here 1595, is now surmounted by a statue of the Virgin. 
Near by is a cannon, surmounted by a cross, in commemoration of 
the abandonment of Protestantism by Henry IV. of France. 

Pope Pius IX. selected this ch. as his last resting-place, and 
constructed a magnificent tomb beneath and in front of the high 
altar. In the Pi. is an obelisk erected by Sixtus V. See Obelisks. 

Maria, S., sopra Minerva (mah-ree-ah), ch., Rome, near 
the Pantheon, upon the site of a temple of Minerva, the only 
Gothic ch. in Rome, 1280; rebuilt, 1870. On the 1. of the high 
altar is Michael Angelo's celebrated ** statue of Christ ; beyond 
the choir, on the 1. , is the tomb of Fra Augelico. In the choir are 
the tombs: r., Clement VII ; 1., LeoX., the two Medici. Right 
transept, 1., tomb of Paul IV., the founder of the Inquisition. 
This ch. has also the additional notoriety of being the theatre of 
the disgraceful trial of Galileo. 

Maria, S., Novella, ch., Florence, on the Pi. S. M. Novella, 
an elegant structure in the German Gothic style, called by M. 
Angelo his "bride." Interior : r. *the Trinity, the Virgin, St. 
John, Masaccio. S. Transept : Mon. to Patriarch Joseph of 
Constantinople, who died while attending the great. Council of 
1439. 

Capella Rucellai, Cimabue's **Madonna, one of the three only 
known authentic works of this master. 

In the chapel of Filippo Strozzi are frescos by Filippino Lippi. 
In the choir, *frescos by Ghirlandaio. The chapel to the 1. of 
the choir contains the noted wooden crucifix carved by Brunelles- 
chi, in competition with Donatello. Left transept, Strozzi Chapel, 
frescos by Orcagna. 

In the Sacristy, *fountain by della Eobbia. In the Cloisters, 
frescos by Orcagna and Ucello. The Spanish Chapel is decorated 
with *frescos of the 14th century. 

Maria, S., in Trastevere, ch., Rome, in the Pi. S. M. inTr. 
Supposed to be the earliest ch. in Rome dedicated to the Virgin ; 
founded 224 ; rebuilt 340, and almost entirely reconstructed, 1139. 



MARI 



231 



Between the doors is the stone said to have been attached to St. 
Calixtus when he was thrown into the well. 

On the ceiling- is an Assumption, by Domenichino ; aud in the 
Sacristy is a Virgin, by Perugino. Lanfranco is here entombed. 

Mart us, Caius, b. B.C. 157, celebrated Rom. general ; was 
7 times consul. In the civil war, upon his defeat by Sulla, he 
fled along the coast of Italy, and was found in a marsh. Being 
liberated, he went to Carthage, but being denied refuge, he re- 
turned to Italy. Cinna, the friend of Marius, having gained a 
victory, they marched in triumph to Rome, where Marius caused 
a most frightful slaughter of his enemies. 

** St. Mark's Cathedral, San Marco, Venice; founded, 
828 ; burned, 976 ; rebuilt in the following century ; consecrated, 
1111 ; and erected into a cathedral, 1807. 

It is constructed in the Byzantine style, in the shape of a 





•1 


11 


O 




• 
• 

• 


Piazza of St. Mark's. 

[ 


2* 1 


— 


St.: 


Vlark's. 




3 




I 










7 






The 

Piazzetta 

5 6 


9 [Mill 








• 

• 

4* 

c 
• 
• 
• 
• 




8 

o 

Court. 

o 
8 




Royal Palace 


10 














l 

Roy 


al Gardens 




Doges' Palace 




Music 
Garden 




7 












G 


rand 


Canal. 






The 


Molt 


t 


Lagi 


ma 





St. Mark's Square. 

1. The four Bronze Horses. 7. Entrance to the Court. 

2. The Flagstaffs. 8. Bronze well-curbs. 

3. Campanile. 9. Giants' Staircase. Entrance to the 

4. Colonnade. Palace of the Doges. 

5. Column of St. Theodore 10. Bridge of Sighs. 

6. Column of the Lion. 11. Clock Tower. 

Greek cross, each arm being covered by a dome, and has, it is 
estimated, over 500 columns, mostly brought from the East. 

The Bronze Horses over the principal entrance were for- 
merly supposed to be the work of Lysippus, and to have been 



232 MARK 

brought from Alexandria to Rome by Augustus ; now, however, 
believed to be of the time of Nero. They stood successively 
upon the arches of Nero, Domitian, Trajan, and Constantine, in 
Rome. Afterward they were carried by Constantine to Constan- 
tinople, thence brought to Venice by Zeno, 1204 ; taken by Bo- 
naparte to Paris, 1797, and placed upon the Arc du Carrousel ; 
restored to Venice, 1815. 

The Vestibule. — In the pavement of the vestibule at the 
central door is a slab of red and white marble, marking the 
place of the reconciliation of the Emp. Fred. Barbarossa with 
the Pope. Over the door is a mosaic of St. Mark in his pontifical 
robes, from designs by Titian. On the r. of the vestibule is the 
Zeno Chapel, with the magnificent tomb of Card. Zeno, 1505. 
The r. door of the vestibule was brought, 1203, from St. 
Sophia, at Constantinople. The central door, in 48 sections, 
with silver figures, is Venetian of the 12th cent. The 8 columns 
adjacent were brought from Constantinople, 1205. In the n. cor- 
ridor are tombs of 3 Doges, and of Manin, a Venetian patriot. 

The Interior is of exceeding richness, the pavement being 
of tessellated marble, the columns of most costly marble, and 
the vaulting all of mosaic, upon gold ground. Over the central 
door, mosaic of Christ, St. Mark, and the Virgin, 10th cent., the 
most ancient mosaic in the cathedral. The building contains 
over 40,000 sq. ft. of mosaics, of various ages, but all in the 
Byzantine style. 

The High Altai' is covered by a canopy of verd antique. 
The Pala d'oro, or altar-piece, is wrought in enamel and jewels 
upon plates of gold and silver — uncovered only on high festivals. 
Beneath the high altar are the remains of St. Mark ; on the r. 
are 2 alabaster columns, from Solomon's temple; at the sides, 8 
bronze statues — 4 Evangelists and 4 Doctors of the Ch. ; upon the 
screen are the 12 apostles, St. Mark, and St. Mary. 

Right Transept. — The treasury contains covers of the books 
of the Gospels from St. Sophia at Constantinople, a vase with 
blood of the Saviour, a silver column with a bit of the true 
cross, portion of the skull of St. John in an agate cup, and the 
episcopal chair of St. Mark. 

Left Transept. — In the Chapel of the Madonna is a mo- 
saic of the history of the Virgin. In the Chapel of St. Isidore is 
a mosaic of the genealogical tree of the Virgin. 

The Battistero (bat-tis-tay'-ro), r. aisle, contains a large 



MARK 2M 

bronze font. 1545 ; above is J. Baptist, to the 1. of the altar 
the head of J. Baptist and the stone on which he was beheaded. 
From this room we enter the *Zeno Chapel, rich in bronzes. 

* Mark's, St., Piazza of (pee-at-za), the grand central 
point of Venice, is an irregular square about 600 ft. in length, 
2)0 ft. wide on the w. and 300 on the e. The eastern side is ter- 
minated by St. Mark's, the Campanile, and the Doges' Palace ; 
the s., w., and n. sides by a continuous palatial structure, with 
arcades, covering a broad sidewalk, along which are shops and 
cafes. In summer, from sunset till midnight, the entire piazza 
is filled with an animated concourse of pleasure -seekers. A 
military band usually plays on Sun., Tu., and Th., 8-10 P.M. 

The pavement of the piazza abounds with pigeons, which are said 
to be fed at the city expense at 2 p.m., n. w. corner of the square. 

The three flagstaff s in front of the ch., erected 1505, formerly 
displayed the banners of Cyprus, Candia, and Morea, after their 
annexation to the republic. 

The Piazzetta is the small square extending from St. Mark's 
southward to the grand canal ; on the e. is the Doges' Palace, on 
the w. is the Royal Palace and the library of Sansovino. At the 
termination of the piazzetta, on the right, is 

The Column op St. Theodore, and on the left, that of the 
Winged Lion, brought from the Grecian Archipelago, 1156. 
Public executions formerly took place between the columns. 

The Campanile (cam' -pah-nee' -lay), in front of St. Mark's, 
is a tower 42 ft. square, 322 ft. in height ; commenced, 911 ; and 
completed, 1590. The ascent is by an inclined plane in lieu of 
steps. The summit commands a magnificent view; (small fee). 
At the foot, bronze Apollo, Mercury, and Peace, by Sansovino. 

The Torke dell' Orologio {dock-tower), to the r. on leaving 
St. Mark's, is surmounted by two bronze figures, called Moors, 
which strike the hours upon the bell — one of which, it is said, 
struck a workman who chanced to come within range of his 
hammer, and knocked him from the tower, causing his death. 

Marseilles, Ft. See p. 572. 

Mars, Greek Ares, myth ; the god of war ; one of the prin- 
cipal Olympian deities, the son of Jupiter and Juno ; beloved by 
Venus. Among the Romans he was considered the father of 
Romulus, and hence the founder of the nation, and the protector 
of agriculture. His priests danced in full armor. 

Statues : Cap., 31 colossal, II. 17; G-lyp., 91 ; Lat., * ; Ludo., *1 ; Naples, 16. 



234 



MARS 




Mars — Ludovisi Villa. 



tories of Louis XIV. 



Mars Ultor, Temple of; Mars the Avenger, Home; 

built by Augustus in bis Forum, and dedicated to Mars, who bad 

assisted bim in avenging tbe murder of 
his uncle. Some columns of the struc- 
ture still remain. 

Mar'-sy-as, myth, a satyr, who, hav- 
ing found a flute that Minerva had 
thrown away, which emitted delightful 
music of its own accord, was so elated 
that he challenged Apollo to a musical 
contest. The Muses, who were the um- 
pires, decided in favor of Apollo, and Mar- 
syas, as a just punishment for his rash 
presumption, was condemned to be fiayed 
alive. Statues in the Uffizi and Vatican. 
Martin, Porte St. (mahr-tan; a as 
in hat), Paris ; intersection of Boul. St. 
Denis and Rue St. Martin ; a triumphal 
arch, erected 1674, in honor of the vic- 
Reliefs, s. side, Taking of Besancon; n. 

side. Capture of Limburg ; Defeat of the Germans. This arch, 

as well as that of St. Denis, was one of the last rallying points 

of the Communists, 1871, who here made a very stubborn and 

sanguinary resistance, of which the bullet-marks are still visible. 
Mary, Queen of Scots, Stuart, dau. of 

James V., b. 1542 ; eight days after succeeded to 

the throne, and was crowned the following year ; 

at 5 years of age, sent to France ; at 16, married 

Francis (then dauphin, the following year King 

of France). On his death, two years later, she 

returned to Scotland. At 23, she married her 

cousin, Henry Stuart, Lord Darnley, who being 

excluded from participation in the government, 

became jealous of the Queen's private secretary, 

Rizzio, and murdered him in the Queen's pres- 
ence at Holyrood Palace. 

Darnley now residing separate from the Queen, 

in 1567, his house was blown up during the night, 

and he was killed. Three months later Mary 

married Bothwell, who was openly accused of Darnley' s murder. 

Insurrection soon broke out, Bothwell fled to Denmark, and Mary 




Mars — G'yptolhek. 



MASA 



235 



was imprisoned in Loch Levin castle. After some months she 
effected her escape, raised an army, but suffered defeat at Lang- 
side, near Glasgow. 

To avoid falling into the hands of her enemies, she fled to 
England and sought the protection of Elizabeth, her cousin. As 
Mary was the recognized head of the papist party, who were de- 
sirous of placing her upon the throne of England, she was de- 
tained as a prisoner. It becoming evident she was cognizant 
of the plots against the crown, she was put upon trial for con- 
spiracy, and, after having been imprisoned 18 years, condemned 
and executed in the castle of Fotheringay, where she had been 
so long confined, Feb. 8, 1587, aged 45. She was buried in Pe- 
terborough Cathedral, but 
was removed by her son, 
James I. , 1612, to her pres- 
ent tomb in Henry VII. 
Chapel, Westminster Ab- 
bey. 

Masaccio (mah-saf- 

Cho), TOMMASO GrUIDI, 

1401-1428; Italy. Like 
his two great predecessors, 
he has frequently been 
honored with the title of 
u The Father of Modern 
Painting." Taking up the 
art nearly as they had left 
it a centuiy previous, by 
his laborious studies he 
placed himself in the front 
rank of those who extrica- 
ted the art from the imperfections, vices, and technicalities 
which had thus far hindered its progress. He established new 
and most important rules of perspective ; he gave to his figures 
attitudes, strength, vivacity, movement, and pose, to be found 
in the works of no one who had preceded him. Hitherto all the 
Italian painters had placed their figures upon the front of their 
feet, or apparently standing upon the toes. 

In the chapel of the Brancacci, Church of S. M. del Carmine, 
his figure of Peter in the Baptism, nude, trembling, and cold, has 
won admiration to the present day. This chapel, of which 




Baptism — Masaccio. 



236 



MAT 



Masaccio may be said to be the master, has been from his time 
to this the great school of Modern Painters. Here da Vinci, 
Perugino, Bartolommeo, Angelo, del Sarto, Raphael, and a mul- 
titude of others found the best principles of their art. 

The pleasure one draws from the contemplation of the works 
of Masaccio, is saddened by the reflection of his death at the 
early age of 27, so sudden and so unlooked for as to awaken the 
suspicion of his having been poisoned. 

" In his exceedingly short life he attained to a greatness and power of vision 
which have rendered his works the characteristic ones of an epoch, and his ex- 
ample the decisive influence in all art of the fifteenth century. 

"In the Brancacci chapel, Florence, the Expulsion from Paradise has not only 
the earliest nude figure in Italian art, but is a composition of such beauty that 
Raphael adopted it in his series of Bible pictures." — Liibke. 

Principal Works: Barb., No. 67?; Flor. Acad., 36; Munich, 1150?; TJffi., 
1167? 

Mat-sys, Quinten, Massys, Messys, or Metsys; 1466- 
1531, b. at Louvain, Belg. Becoming enamored of a lady whose 
father was a painter and had resolved his daughter should marry 

only an artist, Matsys 
abandoned his trade of 
blacksmith, betook him- 
self to painting, and be- 
came one of the first 
Masters of his age. Speci- 
mens of his iron work are 
still preserved inAntwerp. 
His paintings exhibit 
small perception of 
beauty, but great tech- 
nical skill and delicacy of 
touch and color. 

Principal Works : Ant., 
241-2-5-6-7-8-9; Belv., one; 
Berlin, 561, 574B ; Bruss., Hist, 
of St. Anne ; Dresd., 1721 ; Her- 
mit., 449; Louvre, 279, 280?; 
Munich, 80; Nat. Gall., 295; Nuremberg, 35? ; Uffi., 237. 

Among his more celebrated pictures are the Two Misers in Windsor Castle, an 
Altar-piece, and an Entombment in the Antwerp Museum. 

" There are heads in the Altar-piece not exceeded by Raphael, and, indeed, not 
unlike his manner of painting portraits, hard and minutely finished. The head of 
Herod, and of a fat man near the Christ, are excellent." — Sir Joshua Reynolds. 

M aye rice (mah-yahns'), G-er. Mainz (maintz), a city on the 




Entombment — Matsys. 



MEDI 237 

Rhine at the confluence of the Main ; the Castellum Magontiacwm 
of the Romans. Pop., nearly 60,000. It was occupied by Agrip- 
pa, b. c. 38 ; and by Drusus, the son-in-law of Augustus, b. c. 14. 
During the Roman supremacy it was an important military post, 
and at present is one of the strongest fortresses of Germany. 
Mayence is one of the reputed places where Constantine saw his 
vision of the Cross in the heavens ; and is the oldest archepisco- 
pal see in Germany, dating from 751. Charlemagne here con- 
structed a bridge across the Rhine, 793, of which remnants may 
yet be seen at low water. Birthplace of Gutenberg, 1397. 

* The Cathedral, which was founded in 978, has several 
times been partially destroyed by fire, and each time rebuilt in 
the then prevailing style; it therefore presents the architecture 
of the 13th, 14th, and 15th cents. During the French occupancy, 
1793, it was much injured and afterward used as a storehouse. 
Since 1815 it has been restored. The round towers on the e. 
are of the early structure ; the front, of the 12th cent.; the west 
choir, of the 13th ; and the cloisters of the 14th. The interior 
contains numerous monuments. Open from early morning until 
Hi ; and 3 to 6. 

The Electoral Palace, 1627-1792, is now occupied as a 
museum ; it contains a picture gallery, and one of the most val- 
uable collections of antiquities in Germany, especially in works 
of the Roman age. Open W. and Th. , 2-5 ; Sun. , 9-1, free. At 
other times a small fee. 

In tiie Gutenberg Platz, near the Cathedral, is a statue 
of Gutenberg, designed by Thorwaldsen. The Schiller Platz, the 
forum of the Romans, contains a bronze statue of Schiller, 
erected in 1862. Military music in the park, Wed., at 2 p.m. 

In the Citadel is a circular monument, 45 ft. in height, 
called the Eigelstein, erected to Drusus by the Roman soldiers. 
Permit necessary for admission. 

Routes : To Cologne, by rly., 4 hrs., $3.75 ; $2.75 ; see Route 20 ; by stmr., 9 
hrs., $1.90; see Route 20. To Frankfort, % hr., $0.60; $0.40. To Heidel- 
berg, 2 hrs., $1.80; $1.25; see Route 21. To Wiesbaden, by rly. from Castel, 
15 m. To Worms, 1 hr., $0.70 ; $0.50. Union station for all trains. 

** Medici Chapel of the (maid'-e-chee), Florence ; daily, 10- 
4; Sun., 10-3; M., 12-3. Entrance in the Piazza della Madonna, 
in the rear of the ch. of S. Lorenzo. It was erected, 1604, of 
the richest stones, at a cost of $4,400,000, as a receptacle for the 
Holy Sepulchre, which Emir Faccardino had engaged to recover 



238 MEDI 

from the Turks and take to Florence. Ascending the steps from 
the vestibule on the r. is the Chapel of the Princes, on the 1., the 
New Sacristy. 

** The Chapel op the Princes is octagonal in form, sup- 
porting a dome. The sarcophagi are in six niches in the walls, 
and contain the remains of Cosmo I. , Francesco, Ferdinand I. , 
Cosmo II., Ferdinand II., and Cosmo III. Above the Sar- 
cophagi are the armorial bearings of 16 Tuscan cities. The decora- 
tions of the dome by Benvenuto, represent The Creation, Fall, 
Adam, Noah, Nativity, Death, Resurrection, and Last Judg- 
ment. 

** The New Sacristy was constructed by Michael Angelo, 
and contains some of his most celebrated sculptures. 

On the right ** The Tomb of Giulio (joo'-le-o) de' Medici, duke 
of Nemours, son of Lorenzo il Magnifico, and brother of Leo X., 
surmounted by the figure of the Duke ; on the sides, Day and 
Night. 

On the left ** The Tomb of Lorenzo, duke of Urbino, grand- 
son of Lorenzo il Magnifico, surmounted by his statue ; on the 
sides, Evening and Dawn. 

These sculptures by Angelo are among the finest produced by 
modern art and are considered as worthy of the best period of 
Greece, and place Angelo among the first masters of history. 

" Lorenzo de' Medici is like no other that ever came from a sculptor's hand. It 
is the one work worthy of Michael Angelo's reputation, and grand enough to vindi- 
cate for him all the genius the world gave him credit for. . . . After looking 
at it a little while, the spectator ceases to think of it as a marble statue ; it comes 
to life and you see that the princely figure is brooding over some great design, 
which, when he has arranged in his own mind, the world will be fain to execute. 
No such grandeur and majesty have elsewhere been put into human shape. It is 
all a miracle ; the deep repose, and the deep life within it. It is as much a mira- 
cle to have achieved this as to make a statue that would rise up and walk. How 
wonderful to take a block of marble and convert it wholly into thought, and to do 
it through all the obstruction and impediments of drapery ; for there is nothing 
nude in this statue but the face and hands." — Hawthorne. 

" Nothing in modern statuary is equal to them, and the noblest antique figureB 
are not superior ; they are different, which is all one can say. Phidias executed 
serene gods, and Michael A.ngelo suffering heroes ; but suffering heroes are equal 
to serene gods. . . . 

"One of them, half reclining, awakes, and seems to be shaking off a fearful 
dream. The head is bowed, the brow frowning, the eyes hollow, and the cheeks 
emaciated. How much misery had to be endured in order that such a form 
might feel the burden of life ? Its indestructible beauty has not succumbed, and 
yet inward suffering begins to reveal its corroding imprint. The superb animal 
vitality, the vivacious energy of the trunk and limbs are intact, but the spirit 



MED1 



239 



falters ; she lifts herself painfully on an arm, and beholds the light with regret. 
How sad to raise the eyelids, and to feel that once more must be borne the burden 
of a human day ! 

" By her side a man, seated, turns half round with a sombre air like one over- 
come, irritable and expectant. What an effort, and what writhing when the mass 
of muscles furrowing this torso swells and strains in order to clutch an enemy ! 




Tomb of Lorenzo de' Medici. 



On the other tomb an unfinished captive, his head half disengaged f ram its stone 
matrix, the arms rigid, the body contorted, raises his shoulder with a formidable 
gesture. I see there all of Dante's figures ; Ugolino gnawing the skull of his 
enemy ; the damned half springing from their flaming sepulchres ; but these are 
not the cursed ; they are grand, wounded spirits justly indignant at slavery. 

" A grand female form extended is sleeping ; an owl in front of it is placed at 
its feet. This is the sleep of exhaustion, the dull lethargy of an overtaxed being 
who has sunk down and rests inert. It is called Night, and Michael Angelo has 



240 MEDI 

written on the pedestal, ' Sleep is sweet, and yet more sweet is it to be of stone 
while misery and wrong endure. Not to see, not to feel, is my joy. So wake me 
not ! Ah, speak in whispers ! ' These lines are not necessary to make the senti- 
ment which guided his hand understood ; his statues tell their own story. His 
own Florence had just been vanquished ; in vain had he fortified and defended 
it ; after a siege of a year Pope Clement had captured it. The last free gov- 
ernment was destroyed." — Taine. 

Medici, Catherine de% Fr. Medicis; only child of Lo- 
renzo, Duke of Urbino (7), b. 1519. At 15 married Henry, after- 
ward Henry II. of France ; and was the mother of Francis II., 
Charles IX., and Henry III. A bigoted papist, she was the 
prime instigator of St. Bartholomew's Massacre. No queen of 
France has left a more unenviable name ; d. 1589. 

Medici, House of The. 

1. Giovanni de' ; founder ; d. 1428. 

2. Cosmo de', son of (1) ; reigned 1428-1464. Liberal patron 
of the arts and sciences; " Pater Patriae." Of this period were 
Brunelleschi, Donatello, Masaccio, and Lippi. 

3. Pietro de', I., son of (2); reigned, 1464-1469. 

4. Lorenzo de', II Magnifico. son of (3) ; reigned, 1469-1492. 
An eminent patron of the arts, literature, and science ; espe- 
cially befriended M. Angelo. His brother Giuliano was assassi- 
nated in the Cathedral. 

5. Pietro de', II. , son of (4) ; reigned, 1492-1494; banished. 
His brother Giovanni afterward became Pope Leo X., 1513-1522. 
Florence occupied by Charles VIII., of France. Savonarola 
burned, 1498. 

6. Giuliano de', son of (4); Duke of Nemours, abdicated in 
favor of Lorenzo (7). Became Pope Clement VII., 1523-1534. 
See Medicean Chapel. 

7. Lorenzo de', son of (5), Duke of TJrbino ; banished, 1527. 
Florence besieged 11 months and taken by Emp. Chas. V., of 
Ger. 1530, who installed Alessandro, son of Lorenzo. See Medi- 
cean Chapel. 

8. Alessandro de', son of (7) ; reigned 1530-1537 ; assassi- 
nated by his cousin Lorenzino. 

9. Cosimo de', I.; 1536-1564; liberal patron of the arts; 
founded the Academia delle Belle Arti. 

10. Francesco de', son of (9); reigned, 1564-1587; Grand 
Duke of Tuscany. Father of Marie de', queen of Henry IV. 

11. Ferdinand de', I., bro. of (10); 1587-1609: previously 
a cardinal. 



MEDI 241 

12. Cosimode', II., son of (11); 1609-1621. 13. Ferdinand 
de\ II., 1621-1676. 14. Cosimo de\ III., 1676-1723. 

15. Giovanni Gaston, son of (14) ; 1723-1737. Line extinct. 

Medici, Marie de', Fr. Medicis ; dau. of Francesco, Gd. 
Duke of Tuscany ; b. 1573 ; married Henry IV. of France ; was 
crowned, 1610 : and the day following-, Henry was assassinated. 
She was regent during the minority of her son, Louis XIII. , and 
through her tyrannical acts incited a civil war. Upon Louis XIII. 
attaining his majority, she was exiled to Blois, whence she es- 
caped and died in want at Cologne, 1642. Entombed in the 
Cologne Cathedral. 

Meleager (mee-le-a'-jer), myth, son of CEneus, king of Caly- 

donia, leader of the heroes who slew the Calydonian boar. Being 

in love with Atalanta, he brought the hide to her, and when his 

uncles took it from her, he slew them. Usually represented with 

his dog and the head of the boar. 

Statues : Berlin, No. 33 ; Borgh. Villa, II. 8 ; Naples, 487, (232) ; Tori., GO, 
*277; Vatican, (Ch.) 91, (P.O.) **10. 

** No. 10, in the Atrio del Meleagro, Vestibule of the Belve- 
dere, is one of the gems of the Vatican ; found outside the Porta 
Portese, near the Tiber, at the beginning of the 16th cent.. Sup- 
posed to be of the time of Hadrian. 

Melrose, Scot, a small village, noted especially for its ruined 
Abbey, and is the point from which Dryburgh Abbey and Abbots- 
ford are most accessible. Carriages may be obtained at Melrose 
Station for these points. See Route 5. 

**Melrose Abbey, Scot., at the Melrose station; daily, at 
any hour, 6d. The Abbey was founded, 1136, by David I. of 
Scot, for the Cistercian Monks, and was the mother church of 
the Order in Scotland. Destroyed, 1322, by Ed. II. of Eng.; for 
the rebuilding of which King Robert granted £2,000. In 1385, 
the English under Rich. II., on their retreat from Scot., again 
destroyed it by fire. It was again devastated by the English, 
1545, under the Earl of Hertford, and utterly ruined by the Scots 
in their Reformation. After this, its restoration seems never to 
have been contemplated, and its ruins served as a quarry for the 
town. It is said " there is not an old house in Melrose but has 
in its walls a stone from the Abbey." 

In 1618 the nave was roofed, the coarse masonry on the left 
being added as a support, and this part of the ruin used as a 
Presbyterian chapel until 1810. 
16 



242 



MEML 



The length is 258 ft., and the transept 137 ft. The east win- 
dow, 57 ft. high and 28 wide, is in the perpendicular style which 
was first used in the time of Rich. IT., leading to the inference 
that the chancel was the portion burned by him. The ruins are 
regarded as the finest in Scotland. 

Within the Abbey are the remains of Michael Scott, the wizard 
of the " Lay," to the r. of the choir ; and against the rear wall of 
the choir, r., Alex. II.; centre, the heart of Robt. Bruce, en- 
tombed here at his request ; 1., Wm. 
Douglas, "the Dark Knight," and 
others of that name. 

The finest carving is said to be 
the capital of the corner column at 
the south aisle and transept. The 
small round window of the north 
transept represents the " Crown of 
Thorns." The best view of the 
ruins is obtained from the cemetery 
on the s. Here, also, is the grave 
of Sir David Brewster, enclosed by 
an iron rail, opposite the fifth win- 
dow. 

Memling, Hans, Memline, 
Memlinghe, now believed to be 
Hemling, 1430-1495, b. at Gueld- 
ers, Hoi. , pupil of van der Weyden. 
He settled in Bruges, 1478, where 
some of his works were executed, 
and where some of his best still re- 
main — the *Marriage of St. Cathe- 
rine, and *St. Ursula, in the hospi- 
tal of St. John. See Ursula. 

He excelled in portraits, and his 
miniatures are of the highest merit. His coloring was clear and 
brilliant, his drawing correct and with great fidelity to nature. 

' ' A special point about his pictures is the way in which the landscape is ex- 
tended, and made to include in the same picture a number of Bcenes generally 
considered as following one another in order of time." — Lubke. 

Pkincipal Wokks : Ant., 255, 256 ; Belv., 3 ; Berlin, 528B ; Bruges, 4 Triptych ; 
Bruss., 21, 22. 23 ? ; Doges 1 Pal. Library, Grimani Breviary said to have been illus- 
trated by Memling and other early masters ; Doria, *A Deposition ; Dres., 2417 ; 
Frank., 63 ; Louvre, 28S, 289, (iSO ; Munich, 640-1-2, 065 ; Nat. Gall., 686, 709, 747, 
943 ; Pesth, II., 23 : Turin, 358; Uffi., 703, 769. 




St. Ursula — Memling. 



MENG 



243 



Mengs, Anton Raphael (mengss), 1728-1779, b. Aussig, 
Bohemia. His father was court painter to Aug*. III. of Poland . 
He studied under his father, and at Home, and was appointed 
court painter by the King of Poland at the age of 17 ; was invited 
to Spain, where he executed several of his finest works. Hia 
pictures are to be found in all the principal galleries. By some 
he has been extravagantly praised and called the German Raph- 
ael ; by others his works have been as severely criticised. 

Principal Works : Alb. Villa, Gal. Nobile, Ceiling ; Brera, 429 ; Hermit, 
1298, 1301-2-3 ; Madrid, 1435 ; Milan, Ambros., 46 ; Munich, 153. 

Mercury, Greek Her'-mes, myth; son of Jupiter and 
Maia ; the herald of Jupiter and of the gods generally. He was 
the god of prudence, cunning, fraud, perjury, and theft ; was re- 
garded as the inventor of the lyre, the alphabet, numbers, as- 
tronomy, measures, and weights ; was the god of roads and travel- 
lers, of commerce, good luck, and gymnastics. His attributes 
were a hat with a broad brim, 
and later with two small wings ; 
a herald's staff wound with two 
white ribbons, later changed 
into two serpents ; and sandals 
with small wings at the ankles. 
The term Mercury is derived 
from mercari, merchant. 

Statues : Alb. Villa, 52 ; Berlin, 15, 
127, 224, 742, 767 ; Borgh. Villa, X. 3 ; 
Br. Mu., 171 ; Cap., 26, III. 27 ; Flor. 
Nat. Mus., *bronze by Bologna ; Glyp., 
123, 151 ; Louvre, * ; Ludo. Villa, 30 ; 
Naples, 73, (74), **Mercury Resting, 
bronze; Torlo., 38; Vat., (Br.) 65, 132, 
(Chi.) 232, 460, *5S9, (P. C.) 34, **53, 
**417. 

** I. Mercury Reposing, 
bronze, Naples ; found at Herculaneum. This statue is in the 
style of Lysippus, and certainly belongs to the best period of 
Greek art. As Jupiter's messenger he is reposing on the top of a 
mountain, as if in fatigue ; his right hand resting upon the rock 
and his left arm upon his knee. 

,; This is perhaps the finest bronze statue in the world. The figure is of the 
size of life, in a sitting posture, the left hand resting on the knee, and the right 
slightly supporting the figure against the base on which it is seated. The air and 
attitude of the figure are those of a person who is enjoying the luxury of rest 
after considerable muscular exertion. The limbs are in the 6oft bloom of early 




Mercury — Naples. 



244 



MERC 



manhood. The proportions are beautiful, and the expression perfect ; in every 
respect a work of the highest class. 1 ' — Hillard. 

* II. Beu-ve-de-re Mercury, Vat., No. 53 ; found on the Es- 
quiline, 1534-50; right ankle unskilfully restored. This statue was 
formerly, and for a considerable period, called the " Antinous," 
and as such is described in various works on art. The right arm 
and left hand are wanting. His chlamys 
rests upon the left shoulder, and is wound 
around the left arm. 

"There can be little doubt that this statue, though 
possessed of less "subject" than the Apollo, in point 
of art surpasses it." — Wood. 

" I am strongly inclined to regard the Mercury Bel- 
vedere as an original of Polycletus. It approaches al- 
most the exact proportions prescribed by him; and 
we know that a statue of Mercury by Polycletus was 
transported to Rome. Poussin declares the Mercury the 
most perfect model of the human figure." — Amp&re. 

"Perhaps this is the most beautiful statue in the 
world." — Hare. 

" It is an exquisite image of blooming youth. For 
soft and delicate beauty — beauty which, like that of 
the vernal rose, the sunset cloud, and the breaking 
wave, is suggestive of brief continuance and early 
decay — this statue has no superior, hardly an equal. 
The busts and statues of Antinous (Mercury) all have 
a certain expi-ession of melancholy. Their beauty 
seems too ripe for earth. 

" In this statue the softness of the limbs just stops 
short of languid effeminacy. It is beauty, not like 
that of the Apollo, in action, but in repose ; filled to 
the brim with sweet sensations ; neither restless from 
desire, nor cloyed with enjoyment." — Hillard. 

III. Mercury, No. 171, Br. Mu. Similar to that of the Vat- 
ican and at Munich. Has the attributes of the god more fully 
than either of those. 

IV. Mercury op the Capitol, represented as the god of 
commerce, holding a purse, wearing a cloak and a traveller's cap, 
and winged both on the cap and ankles. In his right hand he 
bears the Caduceus. 

** V. Mercury, by G. da Bologna, bronze ; Saloon VII., Nat. 
Museum, Florence. A small statue of Mercury standing upon one 
foot, as in the act of springing into the air. One of the lightest, 
most airy, and graceful figures ever wrought in bronze or marble. 

" It seems a wonder that he did not absolutely fling himself into the air when 
the artist gave him the last touch. No bolder work was ever achieved ; nothing 
so full of life has been done since." — Haiothome. 




Mercury — Bologna. 



MET 245 

Met'-su, Gabriel, Met'-zu, 1630-1667, b. at Leyden; one 
of the most charming' genre painters. His favorite subjects were 
high life, fairs, markets, and interiors, frequently with chickens. 
His works number 160, and are found in all galleries. 

Michael Angelo. See Angelo, Michael 

Mien's, Frans van (mee'-ris), 1635-1681, b. Leyden, pupil 
of Gerard Dow, and friend of Jan Steen. Pictures are small ; sub- 
jects genre, and occasionally of high life. His masterpieces are 
The Tinker, in the Dresden Gall., and The Charlatan in the 
(Jffizi. His works number 140. 

Milan (me-lan', mil -an), It. Milano (mee-lah'-no). Founded 
600 b. c. Under the Romans, Mediolanum was one of the leading 
cities of Italy. The later Emperors frequently made it the seat 
of the Empire. In the Middle Ages it was subject to frequent 
siege in the struggles against the Germans. Totally destroyed 
by Fred. Barbarossa, 1162, it was rapidly rebuilt, and such was 
its prosperity and the excellence of its manufactures, that, in 
1500, it established and controlled the styles and fashions of 
Europe, whence the word milliner. 

The present city has undergone many improvements within the 
last 20 years, and has now a pop. of 321,000. It bears the im- 
press of a modern town beyond that of any city in Italy, except 
Turin. Much as may be found for admiration, there is little be- 
sides the cathedral that will compensate delay for the traveller 
whose tour comprehends Central Italy. 

Tlie Principal Places of Interest are the Cathedral ; the Galleria 
Vittorio Emanuel e ; the Piazza della Scala ; the churches of S. 
Ambrogio, and S. Lorenzo ; the Giardini Pubblici ; the Arco della 
Pace; the Brera Gallery, see Part 11. ; and Ch. of S. M. delle 
Grazie ; see Grazie. 

**The Cathedral : The original church built here was de- 
stroyed by Attila ; rebuilt, it was burned, 1075 ; rebuilt, and 
destroyed by Fred. Barbarossa, 1163. The present building was 
commenced, 1386, under the direction of Heinrich von Gmiind, 
and is not yet completed. The plan of the cathedral is a Latin 
cross ; it is 480 ft. in length, 183 wide ; height of vaulting, 155 
ft. ; from the pavement to the top of the tower, 360 ft. It has 98 
Gothic turrets, and upon the outside, exceeding 2,000 statues — 
according to Murray, 3,400 of the 4,500 required to complete the 
original plan of the structure. 

Interior : The pavement is marble mosaic. Fifty-two columns, 




Milan. 



East. ^" 



MILA 247 

from 8 to 12 ft. in diam., support the roof. The columns are 
surmounted by statues in niches in place of capitals. The vault- 
ing is painted in imitation of wrought stone. 

8. Aisle : Sarcoph. of Bp. Heribertus Antimianus ; Gothic mon. 
to Bp. Marcus Corellus. 8. Transept : Mon. to Giao. and Grab. 
de' Medici, by their bro. Pius IV., 1564. Statue of St. Bartholo- 
mew flayed, by Marcus a Grate. 

Choir: Ornate Gothic doorway of the S. Sacristy; mon. to 
Card. Carraccioli, who crowned Emp. Ch. V. at Aix-la-Chapelle. 
The 3 great windows contain 350 scriptural subjects. Above is a 
sitting statue of Pius IV. 

N. Transept : * Bronze candelabrum, of the 13th cent., in the 
form of a tree. 

iV Aisle: Altar-piece, 1600, by Baroccio. On the altar of St. 
Joseph, Marriage of Mary, by F. Zucchero. Next chapel contains 
the crucifix worn by S. Borromeo during the plague of 1576. 
The Font was formerly the sarcoph, of S. Dionysius. On the 
high altar is a tabernacle of gilt bronze with figures of Christ and 
the Apostles. 

Beneath the Choir is a subterranean church, used in winter ; 
thence an entrance leads to the chapel of St. Carlo, of which the 
walls are adorned with silver-gilt bas-reliefs. 

The Treasury (fee 1 fr.) contains life-size statues of SS. Am- 
brogio and Borromeo, said to be in silver (?). 

Ascent to the Dome is made from the S. Transept (25 cent.) by 
nearly 500 steps to the highest gallery. The early morning (ca- 
thedral open at 5 A.M.) is most certain to afford a fiue view of the 
Alps. The most prominent peak is Monte Rosa ; on the 1. of 
which are the Matterhorn, Gt. St. Bernard, and Mt. Blanc. 
**The view of the immense cathedral, with its forest of turrets, 
pinnacles, and statues, seen from the upper galleries of the 
dome, is among the most striking and beautiful presented by any 
structure ever reared. 

Gal-LE-RI-A Vit-TO'-RI-O E-man'-U-E-LE : a grand and spa- 
cious arcade (1865), extending from the Piazza del Duomo to the 
Piazza della Scala, nearly 1,000 ft. It is in the form of a Latin 
cross, with a dome 180 ft. high, and is adorned with statues and 
lined with elegant shops and cafes. In the evening it is a fash- 
ionable and a most delightful resort. 

The Piazza della Scala (scah'-lah). Leaving the Galleria 
by the entrance opposite the Cathedral end, we enter the Piazza 



248 MINE 

della Scala, noted principally for its monument to da Vinci, 
erected 1872. Below are four of his most eminent pupils — Marca 
d'Oggione, Cesare da Sesto, Salaino, and Beltraffio. 

The principal business street is Corso Vittorio Emanuele, ex- 
tending from the rear of the Cathedral n. e. past the Public Gar- 
dens to the Porta Venezia. 

The Church of St. Ambrogio, where the Lombard and Ger- 
man Kings and Emperors were crowned with the Iron Crown of 
Lombardy, was founded in the 4th cent, by St. Ambrose, on the 
site of an ancient temple of Bacchus. The present structure 
dates from the 12th cent. This is said to be the church whose 
doors St. Ambrose closed against Emp. Theodosius after his Thes- 
salonica massacres. 

Lorenzo, S., Ch. of, the most ancient ch. in Milan, being a 
portion of the Palace or Baths of Maximian, founded by King 
Ataulph, whose sarcophagus is in the chapel of St. Aquilinus. In 
the street is a beautiful *colonnade of Corinthian columns, sup- 
posed to be a part of the same structure as the church. 

The Giardini Ptjblici (jee-ar-dee'-nee poob-lee'-chee ; public 
gardens), on the n. e. part of the city, are the fashionable prome- 
nade, and the avenue on the n. side, the principal drive in the late 
afternoon, particularly on Sundays. At the s. w. corner is a 
bronze mon. to Cavour, with Clio inscribing his name on her 
tablet. 

In the n. w. part of the city is the Castello, now occupied as 
barracks, beyond which is the Piazza d'Armi (dar'-mee'), or drill- 
ground. On the side of the Piazza, opposite the Castello, is 

*The Arco del Sempione, or Arco della Pace, commenced 
in 1807 by Napoleon, in honor of the construction and as the 
terminus of the Simplon Road over the Alps. It was completed 
by Francis I. of Austria, in 1833. 

Upon the liberation of Italy from Austrian dominion, the in- 
scriptions which Francis had placed upon the Arch in his own 
honor were removed, and the present ones substituted. 

Routes: To Aeona (Lake Maggiore), 2 hrs., $2.50; $1.75; see Route 44. To 
Como (Lake of Como), 1)4 hrs., $1.10 ; $0.75 ; see Route 45. To Venice, 6 hrs., 
$6; $4.10; see Route 46. To Bologna, 5% hrs., $4.60; $3; see Route 47 to 
Piucenza, thence Route 42, Piacenza to Bologna. To Genoa, 5 hrs., $3.50 ; $2.50. 
To Turin, 3% hrs., $3.40 ; $2.20 ; see Route 43. To Paris. 22 hrs., $20 ; $16.50,- 
eee Route 43 to Milan, thence Route 40, Turin to Cnloz, thence Route 39, Culoz to 
Paris. Union Station for all trains. 

Minerva, Greek Pallas Athena, or Athena, myth, dau. 



MINE 



249 



of Jupiter, the principal goddess of the Greeks, in whom wisdom 
and power were harmoniously blended ; was the chief protector 
of the state, of agriculture, and of all useful and elegant arts ; 
maintained the authority of law and the will of the people. In 
the Trojan war she sided with the Greeks. She is usually repre- 
sented in armor, with the segis and a golden staff ; in the centre of 
her breastplate is the head of Medusa. The owl, the serpent, the 
cock, and the olive tree were sacred to her. 

Statubs: Alb. Villa, *1012 ; Berlin, 4, 124, 135-6, 203; "Br. Mu., 103-4, 123-8; 
Cap., III. 16, IV. 54, VI. *71 ; Glyp., 59, 86, 92 ; Louvre, 112, *114 ; Min. Velletri, 
116; Ludo. Villa, 51; Naples, 510 (245), 101 (82), *118, 150 (102); Vat., (Br.) 
107A, *114 Min. Medica, (Ch.) 197, 403, 496, 558, (P. C.) 259, *376, *438. 

**Minerva Medica, or Pallas Giustiniani (joos'-tin-e-ah'-nee), 
Vat., Brae. Nuovo, No. 114; full length statue, with spear and 





Minerva Medica — Vatican. 



Athena Polias — Albani Villa. 



helmet ; found in the temple of Min. Med. on the Esquiline Hill. 
Supposed to be a copy of Phidias. Admirably preserved. 

" Sculptured in the finest Parian marble, but it has been worked over and the 
original surface entirely removed.' 1 — Wood. 

"A most beautiful Creek statue, but much injured by restoration." — Rare. 

"This statue fills me with admiration. I cannot praise it sufficiently.'" — 
Goethe. 

*Athena Po'-li-as, Alb. Villa, No. 1012 ; a full-length statue, 
with a lioii-Bkin upon the head in place of the usual helmet. The 



250 



MINE 




Mona Lisa — da Vinci. 



right arm is extended, the hand being higher than the head, and 
the left nearly even with the elbow. Drapery fine. 

^Minerva Medica, Temple of, Rome, near the Porta 
Maggiore, supposed to be of the time of Gallienus, a.d. 250, and 
to be a part of the baths erected by him. It is decagonal, 80 ft. 

in diameter, and surmounted by a 
dome, part of which fell in 1828. One 
of the most picturesque ruins of Rome. 
Minerva, Pallas, Temple of; 
the Portico, now t called the Colonnance, 
Rome, via della Croce Bianca, only 
two columns, with a stat. of Minerva 
and a frieze, remaining. 

Mithras (mi'-thras), myth. The 
Persian god of the sun ; was worship- 
ped also in Rome ; represented as a 
handsome youth, with a Phrygian cap, 
kneeling on a bull which he is slaying. 
Mo-na Lisa (lee'-za), a picture in 
the Louvre, purchased by Francis I. 
for $9,000. Painted by da Vinci ; it is the portrait of the wife 
of his friend Gioconda, of Florence; hence the picture is of ten 
called La Joconde or La Gioconda. Da Vinci regarded it as still 
unfinished, although he had worked upon it four years. 

" The mouth, the lips, the redness of which blends at the corners with the rose 
tints of the cheeks — this is not color, but actual, living flesh." — Vasari. 

" Though severely criticised in some respects, this portrait is sure to captivate 
the beholder by the charming grace of the conception, as also by the sweetness of 
its almost seductive smile." — Liibke. 

" Da Vinci willingly uses the heip of landscape, and. thus gives the last touch, 
in the portrait of the G-ioconda, to the thoroughly dreamy effect produced by this 
portrait of all portraits." — Burckhardt. 

*Monceau, Pare (park mon-so), or Parc de Monceaux, 
Boul. de Courcelles, Paris, \ ml. from Arc de Triomphe. Laid 
out under the direction of Philip Egalite, 1778, and was at once 
the great resort of beauty and fashion. It became national 
property in the Revolution. Among the most interesting objects 
are the cascade, the grotto, and the lake, with mock ruins of a 
Grecian colonnade. 

Monte Testaccio (mon'-tay-tes-tat'-chee-o), Rome, to the 
w. of Porta S. Paolo. The origin of this hill, 170 ft. in height, 
composed entirely of broken pottery, and which comes to us 



MONT 251 

from ancient Rome, yet remains a profound mystery. The sum- 
mit affords a fine view of the southern part of the city, and of 
the Campagna. 

Mont mart re (moft-uiart), cemetery, Paris, on an elevation 
to the n. of the city, so named from the tradition that St. Denis 
here suffered martyrdom ; the earliest burial-ground of Paris. 
Among the most noted tombs are those of Gen. Cavaignac, Pres. 
of the French Republic, 1848 ; Halevy, the composer ; Heine, 
the Ger. poet ; Ch. Zeuner, composer; Paul Delaroche, artist. 
Montmartre was the scene of the final conflict of the French 
and allies, 1814, and of the Communist insurrection in 1871. 
That section of Paris is also known as Montmartre. 

Montparnasse (mon'-par'-nas'), cemetery, Paris ; on the 
s. side of the city ; 30 acres ; interments in private vaults only. 
Of less interest than Pere Lachaise or Montmartre. 

Morghen, Raphael, 1758-1833, b. Florence ; the most 
celebrated engraver of modern times. Among his best known 
plates are the Transfiguration, the Madonna della Seggiola, 
Guido's Aurora, and da Vinci's Last Supper. Entombed in 
Santa Croce, Florence. 

MOSCOW (mos'-ko'), the ancient capital of the Russian em- 
pire, is one of the most magnificent and interesting cities of 
Europe. It is situated upon the river Moskau, and contains a 
pop. of about 800,000. The city is gathered in a semi-circle 
around the Citadel, or Kremlin, which stands immediately upon 
the river bank. The streets are exceedingly irregular, though 
generally presenting the appearance of broad, well-paved ave- 
nues of a modern European city. The innumerable white, semi- 
oriental structures which greet the vision from every' command- 
ing point, with their unnumbered domes, spires, belfries, towers, 
and minarets, give to the city a magnificence of beauty scarcely 
to be found elsewhere in Europe. 

* The Kremlin. — The historic, as well as the most interesting 
part of the city is within the walls of the Kremlin. One of its 
five gates is called the Sacred Gate, from a picture of Christ 
over the gateway, which, according to the popular belief, has 
rested there since the foundation of the city. Every person 
passing beneath the sacred arch is required to remove his hat. 

Within the walls, in long lines, are the hundreds of French 
bronze field-pieces lost by Napoleon in his memorable Russian 
campaign. Here, also, is the great bell, 21 ft. in height, 67 in 



252 



MOSE 



circumference, and weighing 400,000 lbs. It was cast 1730, and 
seven years after was precipitated to the earth from the burning 
of the bell-tower, a piece apparently twelve feet in height and 
of equal width being broken from one side in the fall. 

Nothing can be done toward threading the streets or visiting 
the objects of interest in this city without an English-speaking 
guide. Any detailed description is therefore unnecessary. 

The Principal Places of Interest are, the Large Palace, with 
its endless apartments, stairways, and courts ; the Little Palace; 

the Arsenal; the Cathedral of 
the Assumption ; the House 
of the Holy Synod, where is 
manufactured the holy oil 
with which all Russian chil- 
dren are anointed at baptism ; 
the Church of the Redeemer, 
the oldest in the city ; the 
Convent of the Ascension, con- 
taining the tombs of the prin- 
cesses ; the Church of St. Ba- 
sil, with its 20 domes and 
towers, the only church open 
daily, and the Treasury. 

The Museum, Tu., Th., 
Sat., and Sun., contains a li- 
brary of 100,000 vols., and an 
•invaluable coll. of Slavonic 
MSS. , a collection of antiqui- 
ties, and a picture gallery. 

Routea: Moscow to St. Peters- 
burg, 15 hrs., $17 ; $12. To Berlin, 
54 hrs. ; $26 ; $2S. 

** Moses, Michael An- 
gela's, stat., inch, of S. Pie- 
tro in Vincoli, Rome. Designed as one of the thirty statues to 
adorn the tomb of Pope Julius II., intended to be erected in St. 
Peter's. Moses, Rachael, and Leah alone were executed by An- 
gelo, and the monument never completed. 

" The eye does not know where to rest in this masterpiece of sculpture since the 
Greeks. ... All that is positive and all that is negative in him is equally 
dreadful. If he were to rise up it seems as if he would shout forth laws which 




Moses — M. Angelo. 



MOUS 253 

no human intellect could fathom, and which, instead of improving the world, 
would drive it back to chaos." — Gregorovius. 

" There are few works against which so many critical objections can be made, 
and have been made, as upon this wonderful statue ; but it is, nevertheless, one 
of the most marvellous creations ever hewn by the hand of man from a block of 
stone. It is replete throughout with the great genius of the sculptor ; its majestic 
aspect almost inspires awe in the beholder, and it is so full of life that one would 
scarcely be surprised to see it rise from its seat, or hear it speak in the command- 
ing tones of the great law-giver of Israel. 1 ' — Shakespere Wood. 

" We have here, not the circumspect leader of hosts, or the wise law-giver, but 
the fiery zealot, who, in his hot indignation because of the idolatry of his people, 
breaks to pieces the tables of the law. 

" He seems to be beholding the worship paid to the golden calf ; his head turns 
to the left, with flashing eyes ; his beard, agitated by the inward commotion, falls 
heavily down upon his breast ; the right hand rests upon the tables of the law, 
and with the left he presses the beard to himself, as though he would check the 
violent outburst of passion. But the advanced position of the right foot, and the 
backward movement of the left, give us to understand that in a moment this 
powerful form will spring to its feet and vent upon the apostates his fierce and 
withering indignation/' — Lubke. 

Mouse Tower, at Bingen on the Rhine. See Route 20. 

Legend : A famine having occurred, Abp. Hatto bought up all the corn, and 
would sell it again only at the most exorbitant prices. One day the starving mul- 
titude forced themselves into the Bishop's palace, where he was enjoying a lux- 
urious feast. They begged corn and were told to go to the barn and he would 
Bupply them. On reaching the place he caused the doors to be locked and the 
barn to be set on fire, and as they shrieked from their burning prison, he replied, 
" Hear how the corn mice squeak." But out of the ashes came thousands of mice, 
which immediately made their way to the palace, filling every apartment. The 
Bishop thought to escape them by fleeing to the tower in the midst of the Rhine, 
but the mice swam the stream, gnawed their way into the tower, overcame, and 
finally devoured the wicked Bishop. 

Munich (moo'-nik), Munchen, Monaco; is situated on the 
Isar, principally upon the south bank. Pop. about 230,000. The 
city is extremely irregular both as to streets and general plan. 
There is no distinctly central point or street upon which business 
locates, or from which the principal lines of travel diverge. 
Among the most important centres are Max Josephs Plate, near 
which are the Royal Palace, the Opera House, and the Post 
Office ; and Marten Platz, the leading financial centre. 

A broad boulevard with walks and grounds encircles the cen- 
tral portion of the city, occupying the place of the former fortifi- 
cations. Within this line is the old city with its primitive, 
narrow, and irregular streets. Outside is the new city with 
broad regular streets, exceedingly clean and inviting. Statues, 
monuments, parks, and well-kept grounds^ meet the visitor on 
every hand. 



254 



MUNI 




MUNI 255 

The art galleries are at the extreme n. w. part of the city ; the 
railway station, on the west margin. For its fine public build- 
ings, its numerous parks and monuments, and for its collections 
of art, Munich ranks among the richest cities of Europe. 

Principal Places of Interest : the Glyptothek, or gallery of stat- 
uary ; the Old Pinakothek, or gallery of early pictures ; the New 
Pinakothek, or gallery of modern pictures ; the National Museum ; 
the Royal Palace ; the Bavaria, and the Bronze Foundry. 

The Glyptothek. See Part II. , Glyptothek. P. 440. 

**The Old Pinakothek. See Pinakothek, Old. P. 467. 

**The New Pinakothek. See Pinakothek, New. P. 465. 

♦The National Museum, daily, ex. Mon., 10-2; Sun. and-Th. 
free ; an extensive and exceedingly interesting collection of ob- 
jects designed to illustrate the progress of civilization and art. 

Ground Floor: Roman, German, and Celtic antiquities, and 
Gothic art. 

First Floor : weapons, costumes, musical instruments, and 
ceramics. 

Second Floor : Renaissance wood and ivory carvings, tapes- 
tries, etc. 

**The Royal Palace: the Festsaalbau, daily, ex. Sun., at 
11 ; comprising the Ball Room ; the Card Rooms, with 36 portraits 
of beautiful women ; the Battle Saloon ; the Hall of Charlemagne ; 
the Barbarossa Hall j the Hapsburg Saloon; and the Throne 
Saloon. Small fee. 

* The Nib-e-lung '-en Rooms (g hard), daily, ex. Sun., at 11. En- 
trance Hall ; Marriage Hall ; Hall of Treachery ; Hall of Re- 
venge ; and Hall of Mourning. A custodian accompanies the 
visitors and explains (in German) all objects of interest in the 
rooms ; small fee. 

The Maximilianeum, a military school, occupies a command- 
ing site across the Isar at the termination of Maximiliansstrasse. 

*The Bavaria, a colossal monument, stands upon an eminence 
at a distance of H mis. to the southwest of the city. The figure 
is 69 ft. in height, and may be ascended by an internal stairway. 
Small fee. A fine view is obtained from openings in the head. 
The Hall of Fame, a Grecian colonnade at the rear, contains 
about 80 busts of noted men of Bavaria. 

♦The Bronze Foundry, daily, 1-6 ; Sun., 12-2 ; in the sub- 
urbs, is readily reached by tramway. It is interesting, as con- 
taining the models of many monuments cast for the United States. 



256 



MURI 




Immaculate Conception — Mu- 
rillo. 



At the termination of Ludwigsstrasse is the Siegesthor, a Gate 
of Victory, surmounted by a quadriga. 

The churches of Munich possess few objects of interest. 

Routes: To Venice, 17 hrs., $15; $11; ses 
Route 58. To Vienna, 10 hrs., $10 ; $7.50 ; see 
Route 62. To Zurich, 9 hrs., $8 ; $5.50 ; see 
Route 57. To Frankfort, 11 hrs., $9 ; $6.50 ; 
see Route 56. To Nuremberg, 4 hrs., $4: $2.60. 

Murillo, BartoiomeoEstaban 

(moo -reel' -yo, ormu-ril'lo); 1618-1682, 
b. at Seville, Spain. 

Manifesting an inclination for art, he 
was early placed in a studio. After- 
ward he went to Madrid and became 
a pupil of Velasquez. Upon the com- 
pletion of his studies, he returned to 
his native city where he spent his life. 
As a painter, Murillo stands in the first 
rank. Like Raphael and some other 
great masters, he had three distinct 
styles : the early, called frio, or 
cold ; the second, calido, or warm; 
and the later, vaporoso, or misty. 
His works are numerous, but are 
to be obtained only at the most 
extravagant prices. 

Died from injuries received by 
falling from a scaffold while paint- 
ing in a convent at Cadiz. 

His Immaculate Conception, 
Louvre, No. 539, which was pur- 
chased for $120,000, is a replica 
of a finer work at Seville. 

St. Anthony was one of his fa- 
vorite subjects. 

Principal Works : Berlin, 410A, 414 ; 
Brus., 251; Corsi., VI. 26, VII. 11; 
Dresd., 633-4; DuL, 248, 283, 286,347; 
Edinb., 119 ? ; Glasgow, Repose in Egypt ; 
Hague, 255, 256 ; Hermit., 360-1-2-3-6-7, 
370-2-3-4-5-6-7-8-9, 380; Nat. Gall., 13, 
74, 176; Louvre, 538-9, 540-1-2-3-6-7; 
Madrid, in all forty-six, Acad, de San. Ferd., four ; Munich, 348, 349, 357, 368, 
371, 376; Pesth, 687, 688, 689, 692, 694; Pitti, 56; Rijks, 272 ; Rotterdam, 272: 







n 



mmF** 




St. Anthony— Murillo. 



MUSE 257 

Seville, twenty; Vat., Marriage of St. Cath., and two others; Vienna Chud., 48 ; 
Roy. Acad., Beggar Boys. 

*Musee des Thermes (mu-say-day-term), and Hdtel de 
Ciuny. Paris, 14 Rue du Somnierard. 

Open Sun. and holidays, 11-4 ; and to strangers with passports 
daily, except Mon. 

The Hotel de Cluny was erected about 1480, upon the ruins of 
the ancient Roman Palais des Thermes. The date of this Roman 
structure is not precisely known, but from the material employed 
and the style of workmanship and decoration, it is believed to 
have been erected by Emp. Constantius Chlorus, about A.D. 305. 
It is known to have existed in the time of Julian, who was here 
declared Emperor by his troops in 360. Emperors Valentinian I. 
and Valens also resided here. These ruins are the most ancient 
structures existing in Paris. The street in front of the Palais 
des Thermes — Boulevard St. Michel — is identical with the old 
Roman road. 

Upon the withdrawal of the Romans, the Palace became the 
residence of the French kings, and so continued until the time of 
Philip Augustus, who erected on the Isle de la Cite a new royal 
residence, the present Palais de Justice. 

In 1515, the Palais de Cluny was occupied by Mary, the widow 
of Louis XII., whose room is still called La chambre de la Reine 
Blanche, as it was the custom of the Queens of France to wear 
white mourning. In 1536, James V., of Scotland, married here 
Madeleine, daughter of Francis I. During the Revolution, Marat 
here held his political meetings. In 1842, the Palais was purchased 
by the government and fitted up as a museum. 

The Small Court, through which entrance is made, presents a 
pleasing specimen of a mediaeval turreted chateau. Office of the 
concierge to the left ; entrance to the right. Umbrellas left 
under the arch. 

The collection comprises over ten thousand miscellaneous ob- 
jects of Roman and Mediaeval times, principally relating to the 
fine and useful arts, and is particularly rich in wood-carvings and 
faience. For anything more than a superficial inspection, a cata- 
logue or a guide is necessary. Catalogue, 4 fcs. 

Muses, The, myth, daughters of Jupiter and Mne-mos'-y-ne. 

1. Clio (kli-o, or kle'-o), Muse of History ; with a roll of paper, 
or books. 

2. Eu-ter'-pe, Muse of lyric poetry ; with a flute. 

17 



258 MYRO 

3. Tha-li'-a, Comedy ; with a mask, staff, or wreath of ivy. 

4. Mel-pom -e-ne, Tragedy; with mask, club or sword, and 
her head wreathed with vine leaves. 

5. Terpsichore (-sick'-o-ree), Song and dance; with the lyre 
and plectrum. 

6. Er'-a-to, Erotic poetry ; sometimes with the lyre. 

7. Pol-y-hym'-ni-a, Sublime poetry ; pensive, no attribute. 

8. U-ra'-ni-a, Astronomy ; with a staff, pointing to globe. 

9. Cal-li'-o-pe, Epic poetry ; with tablet and stylus, sometimes 
with a roll of paper or a book. 

Myron, a celebrated Greek sculptor, b. about 430 B.C.; his 
principal works were in bronze. Among the most noted was the 
Discobolus, which was taken from Athens to Rome and placed in 
the Temple of Peace. Antique copies of this work are in the Br. 
Mu., the Louvre, the Vatican, the Cap. Mus., and Lancelotti 
Pal., this last being the best. His Satyr, in the Lateran Mus., 
is incorrectly restored with castanets. See Discobolus. 

Naples. The city lies upon a slope facing the east, upon the 
crest of which, at the southern extremity near the sea, rises the 
Castle of St. Elmo ; to the north is the Capodimonte, upon which 
is the Royal Palace. 

The station is located on the eastern edge of the city, while 
the hotels most frequented by strangers are situated along the 
Chiaia or shore, to the extreme southwest. The principal street 
extends through the heart of the city, north and south, a distance 
of about a mile. It was formerly called the Toledo, now the 
Strada di Roma. 

Naples is mentioned in history as early as 1000 B.C. In B.C. 326, 
it became a part of the Roman territories, and was a favorite 
residence of the Cassars. The last Roman Emperor, Romulus Au- 
gustulus, died here. In a.d. 536, it was captured by Belisarius ; 
in 543, by the G-oths ; in 1130, by the Normans, who held it till 
1194 ; under the Hohenstaufens till 1268 ; the House of Anjou 
till 1435 ; the House of Aragon till 1496 ; the Spanish viceroys 
till 1707; Austrian viceroys till 1734; the rourbons till 1860, 
when Naples became an integral part of the Kingdom of Italy 
under Victor Emanuel. Pop. about 500,000. 

The great charm of Naples to the visitor is its unequalled 
scenery, and in the peculiar and multifarious phases of life which 
present themselves. Apart from these, there are few objects of 
interest. Of the 300 churches in the city, only the Cathedral with 



NAPL 



259 




260 NAPL 

its Chapel of St. Januarius, and perhaps a few others, will repay 
one who has already seen Rome. The Pompeian Antiquities of 
the Museum, the Marine collection of the Aquarium, and the 
views from St. Elmo and Camaldoli are unsurpassed by anything 
similar elsewhere in the world. 

Among the noted names associated with Naples, are those of 
Virgil, Eibera (Spagnoletto), Salvator Rosa, Giordano, Vanvitelli, 
Pergolese, Rossini, and Bellini. 

At the extreme s.e. point of the city, on the bay, is the Piazza 
del Mercato ; thence passing to the westward along Strada Nuova, 
on the margin of the bay, nearly a mile, we come to the Castel 
Nuovo, 1. .; passing through the Piazza del Municipio, 1. , is Palazzo 
Reale and the theatre San Carlo ; on the r. , Piazza del Plebiscito ; 
thence through S. Lucia, where one finds a never-ending panorama 
of the strangest mixture of civilization and low life, good nature 
and careless enjoyment. Beyond S. Lucia we pass between the pre- 
cipitous cliffs of Pizzof alcone, r. , and Castel dell' Ovo, 1. ; thence 
for a mile along the Chiaia, with the spacious grounds of the 
Villa Nazionale, to the extreme s. w. point of the city. 

The Cathedral, Strada del Duomo ; commenced 1272, by 
Charles I. of Anjou ; completed 1316 ; overthrown by an earth- 
quake, 1446 ; rebuilt by Alphonso I. 

Over the principal entrance are the tombs of Charles I. of An- 
jou and Charles Martel. Beneath the high altar is the shrine of 
St. Januarius ; in the Chapel de Seripandi, an *Assumption by 
Perugino. 

* The Chapel of St. Januarius. on ther., was erected at a cost 
of over a million ducats, in obedience to a vow made during the 
plague of 1527. Its decorations are exceedingly rich, having 8 
altars and 42 columns of brocatello, and five paintings by Domeni- 
chino. 

In the tabernacle of the high altar are the remains of St. Januarius. This 
saint being thrown to lions by order of Diocletian, and the lions refusing to do 
him harm, was beheaded and interred at Pozzuoli. In 1497, in the time of the 
Plague, the remains were brought to Naples and placed in the Cathedral. The 
liquefaction of the preserved blood of some of the saints occurs in May, September, 
and December, annually, when thousands crowd to see the miracle. 

The Villa Nazionale (nah'-tzee-o-nah'-le), situated along 
the Bay at the s.w., is the principal promenade and drive of the 
city ; recently laid out with walks, gardens, fountains, and cafes, 
somewhat in the style of the Champs Elysees. It is deserted 



NAPO 261 

during the day, but from 4 or 5 o'clock P.M. till midnight in sum- 
mer, it is thronged with Neapolitan life. 

*The Aquarium, situated in the gardens of the Villa Nazio- 
nale, is, from the abundance of marine life in the Mediterranean, 
altogether unequalled by any collection thus far made. Nothing 
can exceed in strange beauty and in scientific interest such an 
exhibition of deep-sea life. (2 fr. winter, 1 fr. summer.) 

Environs : Naples abounds in delightful and historic locali- 
ties. 

Ca-mal' -doli for its unequalled view ; Pozzuoli, with the tem- 
ples of Serapis and Neptune ; Solfa-ta'-ra, Lake Avernus, Baice, 
Vesuvius, Hereulaneum, Pompeii, Sorrento, and the island of 
Capri, with its blue grotto. 

Excursions may be made to these localities and return the same 
day, with the exception of Sorrento and Capri, for which addi- 
tional time should be allowed. See St. Elmo, National Museum, 
Palazzo Reale, and Pozzuoli. 

Routes: To Rome, 6% hrs., $6.80 ; $4.80 ; see Route 55. To Vesuvius, ex- 
cursion by carriage and rly., 10 hrs., $6. To Pompeii, by rly., $0.75, or by car- 
riage, $1.50, 6 hrs. 

Napoleon Bonaparte, b. 1769, at Ajaccio, Corsica; entered 
the army in 1785 ; 1793 had command of the artillery at the siege of 
Toulon ; 1795 was in charge of the troops at Paris ; 1796 married 
Josephine, widow of Count Beauharnais ; 1796 gained the battle 
of Lodi, subjugated Italy, and made peace when within 30 miles 
of Vienna ; 1798 sailed for Egypt, took Malta, fought the battle 
of the Pyramids, laid siege to Acre ; 1799, overthrew the Direc- 
tory, and was elected First Consul ; 1800, led his army over the 
Alps and gained the battle of Marengo. 

In 1804 he was elected Emperor, and with Josephine was 
crowned by Pope Pius VII.; he collected an army of 200,000 at 
Boulogne for the invasion of England, but his fleet was annihi- 
lated by Nelson at Trafalgar; 1805, went to Austria and gained 
Austerlitz ; 1806, placed his brother Joseph on the throne of 
Spain, Loui3 on that of Holland, Jerome on that of Westphalia. 
In 1807 he gained the battle of Jena, and in 1809, Wagram. 

Having divorced Josephine, he married Marie Louise of Aus- 
tria in 1810, and the next year his son, the King of Rome, was 
born. In 1812 he invaded Russia, making his disastrous retreat 
from Moscow ; 1813, was defeated at the great battle of Leipsic, 
which was followed by the submission of Paris, Napoleon's abdi- 



262 NAPO 

cation and banishment to Elba, and the restoration of Louis 
XVIII. to the throne of France. 

In Feb., 1815, Napoleon left Elba, landed at Frejus March 1st, 
marched to Paris, and in 20 days was again seated on the throne 
of France. June 18, 1815, fought at Waterloo ; July 15th, sur- 
rendered to Capt. Maitland of the Bellerophon ; arrived at St. 
Helena Oct. 1815 ; died May 5, 1821. 

**Napoleon, Tomb of ; M., Tu., and Th., 12-4 ; 3 in win- 
ter ; in the Dome des Invalides, Place Vauban, a large cathedral- 
looking structure, 1680, surmounted by a gilded dome 86 ft. in di- 
ameter ; was prepared as a tomb for Napoleon by Louis Philippe. 
The remains were brought from St. Helena in 1840. They were 
landed at Havre, and thence transported up the Seine to Neuilly, 
through the Bois de Boulogne, beneath the Arc de Triomphe, and 
deposited in their present resting place Dec. 15, 1840. 

The tomb is an open circular crypt, 36 ft. in diameter, directly 
beneath the dome. The sarcophagus, 14 ft. in height and 13 ft. 
in length, weighing 67 tons, is of red Finland granite, brought 
from Lake Onega at a cost of $28,000. Around the sarcophagus 
are 12 statues of victory by Pradier, 60 battle flags, and 10 re- 
liefs in marble. In the pavement is a mosaic laurel wreath. 
Behind the high altar a staifVay leads to the floor below, and 
thence through a passage to the crypt. Above the door of the 
crypt is the following inscription, taken from the will of Napo- 
leon : "I desire that my ashes may repose upon the banks of the 
Seine, in the midst of the French people, whom I have ever 
loved." On the sides are sarcophagi containing the remains of 
Duroc and Bertrand. 

Returning to the main entrance of the church : 

On the right : first chapel, is the tomb of Joseph, eldest brother 
of Napoleon, King of Spain, of black marble, standing in the 
centre of the chapel. The remains were deposited here in 
1864. 

Right Transept : monument to Vauban, with statues to (xenius 
and Prudence. 

On the left : first chapel, tomb of Jerome, youngest brother of 
Napoleon, King of Westphalia, a black marble sarcophagus, rest- 
ing on bronze feet and surmounted by a statue of the king. Ad- 
jacent are the sarcophagi of his son and one containing the heart 
of his wife. 

Left Transept : mon. to Turenne, brought from St. Denis, and 



NATI 263 

representing the hero as dying in the arms of Immortality, the 
German eagle at his feet, 

National Gallery, London. See Nat. Gallery. P. 457. 

National Museum, Florence. See Nat. Museum. P. 439. 

National Museum, Naples. See Nat. Museum. P. 461. 

Na-vo-na, Piazza, Borne; the ancient Circus Ag-o-na'~lis, 
now officially designated Circo Agonale ; one of the largest Piaz- 
zas in the city, being surpassed by that of St. Peter's only. It 
has an oval outline, after the style of the ancient circuses, and is 
embellished with three fountains. That in the centre was exe- 
cuted by Bernini, representing the four quarters of the globe, 
with the rivers Danube, Nile, Ganges, and Kio de la Plata, all 
surmounted by an obelisk from the circus of Maxentius. The 
obelisk is of red granite, with hieroglyphics ; now in 5 pieces. 
Supposed to be of Roman origin in the time of Domitian. Shaft 
51 ft. high, standing on artificial rock-work 40 ft in height. 

"We stopped to look at one of Bernini's absurd fountains, of which the water 
makes the smallest pail, a little squirt or two and a prodigious fuss of gods and 
monsters. " — Ha wthorne. 

Neefs, Pieter, Elder, 1570-1651, b. Antwerp; excelled in 
effects of light and shade ; and especially in torchlight subjects, 
church interiors, and trim, well-ordered households. 

Neptune, Greek Po-sei'-don, myth, brother of Jupiter, god 
of the sea ; rode in a chariot drawn by sea-horses ; first taught the 
management of horses by a bridle ; the protector of horse-racing ; 
married Amphitrite. Attributes are the dolphin, horse, and tri- 
dent. He had a temple in the Campus Martius, Rome. 

Nero. Rom. Emp., b. at Antium, a.d. 37; son of Agrippina, 
the dau. of Germanicus ; adopted by Claudius ; and at 16 mar- 
ried his dau. Octavia ; pupil of Seneca, the philosopher. On be- 
coming emperor he put to death Britannicus, the rightful heir to 
the throne, his mother, and his wife, that he might marry Pop- 
pasa Sabina. A great fire having occurred, it was charged directly 
upon Nero, who, to relieve himself from the odium, accused the 
Christians and executed many. A conspiracy against him being 
discovered, many distinguished Romans were put to death, among 
whom were Lucan, the poet, and Seneca. Learning of another 
conspiracy, and being abandoned by all his attendants, he fled to 
a house 4 miles from the city, where, on hearing the tramp of 
horses, he put an end to his life, a.d. 68. 

'Tomb of Nero. Four miles from the Porta del Popolo, on the 



264 NERO 

road leading northward, is a sarcophagus commonly called the 
Tomb of Nero, for which, however, there is said to be not the 
slightest foundation. 

Nero's Golden House stood on the brow of the hill a short 
distance to the n.e. of the Coliseum. Afterward the halls and 
corridors were filled in with rubbish by Titus, Trajan, and others 
for the substructures of their baths. The present ruins, though 
identified as long ago as 1818 as belonging to Nero's House, are 
still often called the Baths of Titus. Of equally happy invention 
is the story of the custode, showing the pedestals whereon were 
found the Laocoon and Meleager, both of which were found else- 
where. 

Neuchatel (nu-sha-tel), Switz., on the n.w. bank of the 
Lake of Neuchatel ; pop. about 15,000 ; chiefly engaged in watch- 
making. It has a castle dating from the 12th cent. , the seat of 
the Dukes of Neuchatel. The Lake is 27 mis. long and 6 wide, 
but is wanting in the bold and precipitous shores which give at- 
traction to other Swiss lakes. 

Newcastle-on-Tyne is one of the most historic towns in 
the north of England. The castle was built by Robert, son of 
Wm. the Conq.; was attacked and taken by David I. of Scot. 
Here kings John of Eng. and Wm. of Scot, held a conference, 
1209, as also Alex. II. and Henry III., 1235 ; and Baliol and Ed. 
I. In 1293, Wallace made several unsuccessful attacks upon the 
town. In 1318, a Peace Commission was here held; at which, 
besides the representatives of Eng. and Scot., there were two 
nuncios from the Pope and envoys from France. 

In 1342, David Bruce, king of the Scots, made an unsuccessful 
attempt to reduce the town ; and twelve years later, commis- 
sioners met here to settle the terms of his ransom. Newcastle 
was besieged, 1644, and taken the following year. Ch. I. was 
brought here by the Scots, to whom he had surrendered. 

In general, the town, from the number of squalid-looking 
houses, the narrow, crooked streets, and the omnipresent coal- 
dust and smoke, presents a particularly uninviting appearance. 

Nice, Fr. See p. 572. 

Nf me, Nisme, Fr. See p. 572. 

Nimbus or Au-re-o9a, a halo of light, supposed to emanate 
from and surround divine persons : called a nimbus when upon 
the head only, and aureola when it surrounds the whole body. 
It was originally a Pagan symbol ; adopted as Christian in the 4th 



x\ T IOB 



265 




Nimbus. 



cent.; was discontinued in the middle ages ; revived in the 12th 

cent., but limited to divine persons, the Virgin, angels, apostles, 

saints, and martyrs. In the 15 th 

cent, the name was inscribed 

on the rim. A square nimbus in- 
dicates the person to have been 

then living. From the 5th to the 

12th cents, it took the form of a 

disc above the head ; from the 

12th to the 15th, a broad, golden 

band behind the bead; to the 17th 

a bright fillet surrounding the 

head ; disappeared in the 17th and 

was revived in the 19th. In the 9th 

and subsequent cents. Satan ap- 
pears with nimbus. The aureola is 

confined to the Almighty, Christ, the Virgin, and the souls of saints. 
Niobe (ni'-o-bee or nee'-o-bee), myth, dau. of Tantalus, wife 

of Amphion. Proud of her seven sons and seven daughters, she 

deemed herself superior to Latona, who had but two, for which 

presumption Apollo and Diana slew her 
children with arrows, and Jupiter 
changed Mobe herself into stone. 

* Niobe (nee'-o-bee) Group of, 
stat., in the Uffizi, Florence; 17 fig- 
ures, the mother, the 14 children, and 
their pedagogues ; copies of a work by 
Praxiteles or Scopas ; probably once 
adorned the pediment of a temple in 
Greece ; found, 1853, near the Porta S. 
Paolo, Rome. Brought from Asia Minor 
by Sosius and placed in the temple of 
Apollo Sosianus. 

A copy of this group is in the Glypto- 
thek, Munich. 

* Notre Dame (notr-dahm), Paris, 
on the Island ; open daily from morning 
till night. Founded, 1163, on the site 

of a temple of Jupiter. Length, about 420 ft.; width, 155 ft.; 
height of nave. 110. The towers are 220 ft. high. The south 
tower contains the great bell, 1C tons (fee, 20c). 




Niobe — Florence. 



266 NYMP 

The facade is composed of 3 stories. The first consists of 3 
richly sculptured receding- portals, the centre representing the 
Last Judgment, the r. is dedicated to St. Anne, the 1. to the Vir- 
gin. Over the portals are 28 statues to French kings, from Chil- 
debert to Philip Augustus. Above are statues — in the centre 
the Virgin, Adam on r., Eve on 1. The great rose window is 42 
ft. in diameter. The 3d story is a gallery of pointed arches, 26 
ft. in height. In 1792 this church was converted into a Temple 
of Reason. 

The interior barely sustains expectation . The massive columns 
of the nave present the peculiar feature of Gothic alternating 
with the circular. 

The ancient stained glass windows are of great richness and 
beauty. Tickets for the choir and treasury (50c), at the r. en- 
trance to the choir. 

The choir presents numerous wood carvings from the life of 
Christ, and also statues of Louis XIII. and XIV., and a Pieta by 
Coustou. In the chapels around the choir are monuments, chiefly 
to archbishops of Paris. Abp. Affre, with inscription ; Due d'- 
Harcourt, rising from his tomb; Card, de Belloy, representing 
the aged Cardinal giving alms ; Abp. de Quenlen, recumbent 
statue ; Card, de Noailles, kneeling. 

In the Treasury are to be seen the Crown of Thorns, and a piece 
of the True Cross. 

The Gour du Chapitre, with its fountain and statues of 8 
bishops, should not be omitted. At the rear of the Cathedral, 
in an open space, is the Fontaine Notre Dame, 1845, a beautiful 
Gothic spire 48 ft. high, covering a Virgin and Child. 

Nymphs, myth. Female divinities of a lower rank, repre- 
sented in works of art as beautiful maidens partially or entirely 
nude. They were of several classes. 1. O-cean' -i-des, or ocean 
nymphs ; Ne-re' -i-des, or nymphs of the Mediterranean, 50 in 
number. 2. Na-i'-a-des, nymphs of fountains, streams, lakes, 
and bodies of fresh water. 3. O-re'-a-des, nymphs of grottos 
and mountains. 4. Na-pm'-ai, nymphs of glens. 5. Dry' '-a-des, 
nymphs of trees. 

♦Nuremberg, Ger., Nurnberg, preserves to a larger extent 
than almost any other city of Central Europe the aspect and pe- 
culiarities of the Middle Ages. Until the discovery of the pas- 
sage around the Cape of Good Hope, Nuremberg M^as one of the 
leading commercial cities of Germany. It suffered seriously from 



NURE 267 

the diversion of its trade through the new channel, and also from 
the Thirty Years' War, continuing' to decline until the commence- 
ment of the present century. Recently it has become a manu- 
facturing centre, and is now one of the most enterprising citie? 
of South Germany, having a population of 100,000. 

This city is one of the few which has still in good preservation 
its mediaeval fortifications. The walls are surmounted by towers 
at frequent intervals, and possess a dry moat 100 ft. in width, 
and 50 in depth. 

The small stream of the Pegnitz which flows through the cen- 
tre of the city is crossed by numerous bridges, and affords con- 
siderable water-power for small mills. Among the principal 
manufactures are toys, Faber lead pencils, and playing-cards. 

In art and literature, the names of Diirer, Wolgemut, Krafft. 
Vischer, Kulmbach, Hans Sachs, and Melancthon, give Nurem- 
berg a high rank among German cities. 

The Principal Objects of Interest are the Castle, the House of 
Diirer, the Church of St. Sebald, the Rathhaus, and the Ch. of 
St. Lawrence. 

*The Castle ok Burg was founded 1024, by Conrad II., and 
enlarged 1158, by Fred. Barbarossa. The house of the Castellan 
is on the r. at the gateway. The attendant points out all the 
localities and objects of interest, of which especially are the well, 
300 ft. deep, having a passage near the bottom leading out from 
the fortress to the city, the lime tree planted by Empress Cuni- 
gunde 800 years ago, the various chapels and apartments of the 
palace, the room containing a collection of instruments of torture 
for the administration of justice and the promotion of religion — 
particularly the Holy Virgin and the Cradle of Justice, in which 
latter a woman, afterward found to be innocent, was rocked to 
death since 1800. Near the Castle is the House op Durer, now 
owned by the city, and remaining nearly as when occupied by 
the great artist. 

St. Sebald, or St. Sebaldus. The great attraction of this 
church is St. Sebald's monument in the centre of the principal 
floor; a **bronze canopy enclosing a sarcophagus, and possessing 
nearly 100 figures. Kugler regards this as one of the finest gems 
of German art. Its weight is nearly eight tons, and occupied 
Vischer and his five sons thirteen years. Within the sarcophagus 
are the remains of the saint. On the side of the altar, in a nichs 
below, is the artist with chisel and apron. Among the decora< 



268 OBEL 

tions of the ch. are reliefs by Krafft, a painting- by Kulmbach, n. 
wall ; and a crucifix by Stoss. Exterior ; upon the buttresses of 
the e. choir, opp. the Rathhaus, is the Schreyer mon., a master- 
piece by Krafft. The n. portal, called the "Bride's Door," also 
merits inspection. 

The Rathhaus (raht-house). The hall is decorated with 
frescos by Diirer. The guillotine, which has been regarded as 
an invention of the French Revolution, is here represented, dated 
1522. On the second floor is an Art Gallery with statues in wood, 
plaster, and bronze ; and a limited collection of pictures. 

*The Church op St. Lawrence, noted for its magnificent 
rose window and portal, and the Ciborium of Krafft. This last 
consists of a Gothic spire in stone, 68 ft. in height with a bent fin- 
ial, as if from insufficient height. The whole rests upon three fig- 
ures, representing Krafft arid his two assistants, who were occupied 
four years in the work. Suspended from the ceiling is a carved 
wood Salutation by Stoss. There are also altar-pieces by Diirer 
and Wolgemut. 

Routes: To Berlin, 15 hrs., $11.; $8.50. To Dresden, 11 hrs„ $S.; $5.75. 
To Prague, 9 hrs., $8.50; $6. To Munich, 4 hrs., $4 ; $2.75. To Frankfort, 
5 hrs., $5.50 ; $4. 

Obelisks, Borne. Obelisk op the Lateran, the largest 
obelisk known, and believed to be the oldest monument in Rome ; 
supposed to have been erected to Pharaoh Thothmes IV., B.C. 
1740. It was taken from Heliopolis to Alexandria by Con- 
stantine, and to Rome by Constantius, and placed in the Circus 
Maximus ; removed to its present site, 1587, by Fontana. It is 
about 150 ft. in height, the shaft being 106 ft. ; it weighs 440 tons. 

Obelisk op S. M. Maggiore (mad-jo'-ra), supposed to have 
been brought from Egypt, A.D. 57, by Claudius, and placed at 
the entrance of the Mausoleum of Augustus. Length of shaft 48 
ft.; of red granite, and is now in several pieces. Erected 1587. 

Obelisk op Monte Cavallo or Quirinale (cah-vahl'-yo), 
brought from Egypt along with the obelisk of S. M. Maggiore, 
and placed before the Mausoleum of Augustus. Erected in its 
present place, 1786. Shaft 45 ft. in length, in several pieces. 

Obelisk op Monte Pincio (pin'-chee-o), found in the Circus 
Varianus, and erected on the Pincian, 1822. A granite shaft 30 
ft. in length, covered with hieroglyphics, signifying, according to 
Champollion, that it was erected by Hadrian and Sabina in 
honor of Antinous. 



OMME 269 

Obelisk op Monte Citorio (mon-tee chee-to'-re-o), brought 
from Heliopolis by Augustus, placed in the Campus Martius and 
used for a sun-dial. Removed to its present place, 1792. It is 
of red granite, covered with hieroglyphics ; is in several pieces. 
According to Lepsias, the hieroglyphics state that it was erected 
to Psammetichus I., about six centuries B.C. The entire height 
is 134 ft., that of the shaft being 72 ft. 

Obelisk op the Piazza del Popolo (pe-at-za-del-pop-o-lo), 
brought by Augustus from the Temple of the Sun at Heliopolis, 
and placed in the Circus Maximus, B.C. 23. It had fallen from 
its pedestal prior to 360 A.D., and remained buried till 1587, 
when it was exhumed and erected in its present place. It is of 
red granite, 78 ft. high ; now in three pieces and covered with 
hieroglyphics, supposed to date about B.C. 1500. 

Obelisk of the Piazza della Minehva. The hieroglyphics 
indicate the date of the seventh century b. c. Supposed to have 
stood in the Campus Martius. Erected here, 1667, by Bernini. 
The placing it upon an elephant is of Bernini's marvellous taste. 

Obelisk op the Piazza Navona. See Favona. 

Obelisk op the Pantheon. See Pantheon. 

Obelisk op Trinita de' Monti. Red granite, with hiero- 
glyphics ; formerly stood in the Circus of Sallust, an ancient im- 
itation of that in the Pi. del Popolo. Found near the church of 
Sta. Croce in Gerusalemme, and erected here, 1822. Shaft 48 ft. 

Obelisk op the Vatican. See St. Peter's. 

Ommeganck, Balthasar Paul, 1755-1826, b. Antwerp. 
His subjects were landscapes and animals, especially sheep and 
goats. His scenes are produced with the utmost fidelity to na- 
ture, such that the season of the year and time of day can be 
recognized. 

O-no'-frio, St., cli. on the Jamculum, Borne, 1439; has its 
chief interest in its possession of the remains of the poet Tasso, 
who died in the convent adjoining, April, 1595. The tomb is in 
the Chapel of St. Jerome, first on left. Clement VIII. invited 
Tasso to visit Rome that he might be honored with the Poet's 
Crown. Arriving in November, and the weather being bad, the 
ceremony was postponed until Spring. His health failing, he 
came to the convent of St. Onofrio, saying, " My fathers, I have 
come to die among you." Fourteen days after he expired. 
**Madonna, in fresco, by da Vinci, in a passage on the first floor. 

Opera House, Place da I 'Opera, Paris. Opened 1875; the 



270 ORCA 

largest theatre building in the world, cost $9,000,000, seats 2,400 
spectators. On the f acade are sculptures : beginning on the r. , 
The Dance, Tragedy, Elegy, Fable, Song, Idyllic Poetry, Lyric 
Poetry, and Musio ; above these are medallions of Bach, Pergo- 
lesi, Hayden, Cimarosa. Best observed by walking around the 
building. The interior equals the exterior in the grandeur and 
beauty of decoration. The grand staircase is stated to be un- 
surpassed by that of any modern structure. The stage is 178 ft. 
wide, 74 in depth, and nearly 200 ft. in height. 

Orcagna, Andrea (or-cahn'-yah). Andrea Arcagnuolo 
di ClONE, 1308-1368. One of the greatest of the early Italian 
painters ; pupil of Giotto and And. Pisano. Most of his works 
have been so injured as to leave them of little interest. Has a 
large altar-piece in the Nat. Gall. The famous frescos of the 
Campo Santo, Pisa, long attributed to Orcagna, are no longer be- 
lieved by the best critics to be his. 

"His masterpiece of sculpture is the magnificent tabernacle of the High Altar 
of Or San Michele, in Florence ; perhaps the most splendid piece of decorative 
art in the world." — Liibke. 

Principal Works: Nat. Gall., 569-70-1-2-3-4-5-6-7-8. 

Orley, Bernhard van, 1488?-1542, b. Brussels, pupil of 
Raphael ; court painter to Margaret of Austria and to Mary of 
Hungary. Pictures are of fine finish ; subjects, altar-pieces and 
cartoons for tapestries. A successful imitator of Raphael. 
Principal Works : Ant., 461-2-4; Brnss., 25, 27, 36S; Dresd., 2421. 

Ostade, Adrian van (ose-tah'-deh), 1010-1685, b. Lu- 
beck. When quite young he went to Haarlem to study under 
Frans Hals, whose works were in great repute. In 1662, filled 
with alarm at the approach of the French troops, he made prep- 
arations for leaving Holland and returning to his native coun- 
try. He sold his pictures and effects and went to Amsterdam, 
with the intention of embarking for Lubeck. He was there pre- 
vailed upon to abandon his fears, and to establish himself in that 
city, where he continued his profession with great celebrity until 
his death. Number of known works, 380. 

" The pictures of Ostade usually represent the interiors of alehouses or kitch- 
ens, with Dutch peasants smoking and regaling, drunken frolics or quarrels. He 
has, however, treated these grotesque subjects with such humor and spirit, and 
has given so lively and natural an expression to the various characters of his 
heads, that we forget the low vulgarity of the objects to admire the truth and 
finesse with which he animates the actors of his scenes. His coloring is rich, clear, 
and glowing, his pencil uncommonly light and delicate, and, though his pictures 



OSTA 271 

have the appearance of the most polished finishing, his touch is spirited and 
free." 

Principal Works : Ant., 466 ; Brass., 259; Cassel, 399, 400, 401 ; Darms., 302; 
Dresd., 1283, 1287; Dul., 107, 152, 190; Hague, 104,105; Hermit., 945-7-50,951- 
2-3-4 ; Louvre, 369, 370-1-2-3, 82, 87 ; Munich, 835, 878 ; Nat. Gall., 846 ; Pesth, 
642, 645; Rijks, 28S-9, 290-1 ; Vienna, Chud., 231. 

Ostade, Isaac van (ose-tah'-deh), 1621-1657, b. Zubeck, 
brother, pupil, and imitator of Adrian. Subjects were similar, 
especially village scenes and travellers halting at inns. Winter 
and skating scenes were also his favorite themes. 

" His rustic court-yards are, perhaps, still more picturesque than his interiors, 
and must certainly have been more difficult to color harmoniously." 

Principal Works: Amst., Hoop., 88; Brass., 260; Hermit., 962; Nat. Gall., 
847, 963 ; Louvre, 376-7-8-9, 91 ; Munich, 843 ; Rijks, 292. 

Ostend (oast'-end'; east end), Belg., pop. about 20,000; 
founded in the 9th cent. ; walled in the 15th ; sustained a mem- 
orable siege by the Spanish from 1601 to 1604, in which it lost 
50,000 men and the besiegers 80,000. See Route 11. Note 3. 

♦Oxford, Eng., pop. about 30,000. It is a place of very re- 
mote antiquity, but the first fact connected with it that is known 
with certainty is, that in the reign of Alfred, who at one time 
resided in Oxford with his three sons, the place was noted for a 
monastery which was founded in the year 727. 

"Edmund Ironsides was murdered there. Canute frequently resided at Oxford, 
and Harold Harefoot, his son and successor, was crowned and died there. 

"In the year 1067, the town was stormed by William the Conqueror, and a cas- 
tle was built by him, now partly occupied by the county jail and house of correc- 
tion. During her contest with Stephen, the Empress Maude was closely besieged 
in Oxford Castle by her rival, but escaped in the night with only three attend- 
ants, and the castle surrendered next morning. Henry II. resided at Oxford 
during the great part of his reign, and here his valiant son, Richard Coeur de 
Lion, was born. 

" In the martyrdoms of Mary's reign, Latimer, Ridley, and Cranmer were burnt 
at Oxford, in front of Baliol College. During the civil wars, Oxford, after once 
or twice changing masters, became the headquarters of the King. After the bat- 
tle of Naseby, it surrendered to the parliamentary army under Fairfax. During 
the reign of James II. the university firmly resisted an illegal command of that 
prince to elect a Roman Catholic to the presidency of Magdalen College. James 
proceeded thither in person and expelled the contumacious members, whom, how- 
ever, when alarmed by the preparations of the Prince of Orange, he afterward 
restored. 

" The origin of the University of Oxford, like that of the town, is involved in 
obscurity. The earliest charter of privileges to the University as a corporate 
body is of the 28th Henry III. In 1603 the University obtained from James I. 
the privilege of sending two representatives to Parliament.' 1 — Black. 

The University comprises 20 colleges, the Bodleian and Radcliffe 
Libraries, and 5 halls. The colleges were founded : University 



272 PAIN 

College, ''said to have been founded by Alfred, but this is be- 
lieved, on good grounds, to be a mistake," 1429 ; Baliol, 1263 ; 
Merton, 1264; Exeter, 1314; *Oriel, 1326; **Queen's, 1340; 
**New College, 1380 ; Lincoln, 1427 ; All-Souls, 1437 ; Magda- 
len, **tower, 1457; Brazenose, 1509; Corpus Christi, 1516; 
Christ Church, 1524 ; Trinity, 1554 ; St. John's, 1555 ; Jesus, 
1571; Wadham, 1613; Pembroke, 1624; Worcester, 1714; Ke- 
ble, 1870. 

The number of students connected with the University is about 
2,500. Some of the colleges have extensive grounds, which are 
laid out in shaded and delightful walks. The bell of Christ 
Church, called the "Great Tom," weighing 17,000 lbs., at ten 
minutes past 9 every evening, strikes 101 strokes, being the num- 
ber of students for which the college was founded. 

The place of the martyrdom of Latimer, Ridley, and Cranmer 
is marked by a cross in the pavement of one of the principal 
streets. Blenheim, the residence of the Duke of Marlborough, 
is nine miles distant. 

Painting. Whatever the Greeks may have achieved in the 
art of painting, nothing of all the works of the many artists men- 
tioned by the Greek and Latin writers, has descended to our 
time. Our knowledge is limited to the few specimens of wall 
decorations and mosaics discovered at Pompeii and Herculaneum. 
These show that ancient art had attained a high degree of per- 
fection, both as to form and color, and that Roman art was de- 
rived altogether from Greek models. 

In somewhat the same manner our knowledge of early Chris- 
tian painting is derived solely from the wall decorations of the 
catacombs in the vicinity of Rome. But while the catacomb 
pictures have their sources in the antique, and follow, from the 
second century to the eighth, the general art culture of the cen- 
turies in all their varying phases, still, the choice and concep- 
tion of subjects become of the greatest importance to us as indi- 
cating the relation of early Christian sentiment to art. 

The antagonism of Christianity to the Mythology of Greece and 
Rome, and to the worship of their divinities, forbade any repre- 
sentation or image of Divine Beings. Christian hope, however, 
sought expression, and wrought with pious tenderness its symbols 
upon the abodes of the departed. Among the earliest of these 
were the X P, a monogram for Christ, and the Alpha and Omega, 
the beginning and end, and similar symbols, expressive in gen- 



PAIN 



273 



eral of trust in the future life. The later symbolism, becoming 
more positive, represents Christ as a Shepherd, the Apostles as 
twelve sheep, and his followers as lambs. Yet under this dis- 
guise, the art, such as it was, was altogether antique ; the Christ 
was Apollo, the figure was pagan, and was frequently surrounded 
by cupids. 

The Evangelists were symbolized, Matthew, as having a human 
head ; Mark, of a lion ; Luke, of an ox ; John, of an eagle {vide 





The Evangelists. 

statues Musee des Thermes, Paris). The representations in the 
second and third centuries were principally of the Resurrection, 
sometimes the Nativity and the Raising of Lazarus, but none 
indicative of suffering by Christ, or of martyrdom. 

In the third and fourth centuries we find the first indications 
of special honor to the Virgin. She appears seated upon a 
throne, but without halo or nimbus, these still being pagan sym- 
bols ; her figure was gentle and in good proportion. No child ap- 
pears with the Virgin until after the Council of Ephesus, 331. 
In the fifth century, the decline in art and civilization becomes 
apparent in the want of harmonious proportion of the figures de- 
lineated — being unnaturally long or short. 

With the conversion of Constantine and the consequent sub- 
jugation of paganism, the repugnance to representations of ob- 
jects of worship is no longer manifest. Pictures of the Saviour 
now appear, though still with Grecian characteristics ; first of 
18 



274 



PAIN 




Christ — Earliest known. 



Apollo and afterward of Jupiter, with beard and halo ; the head 
small, the face elongated, and the body of undue length. In re- 
gard to the so-called portraits of Christ, St. Augustine declares 
" that as to the personal appearance of 
Christ nothing is known." 

The removal of the seat of empire to By- 
zantium, and the decline of Rome, gradu- 
ally extended Byz'-an-tine influence, and 
finally established Byzantine art through- 
out Italy. Burckhardt remarks : 

" The Byzantine system was indeed partly founded 
on reminiscences of antiquities, but so stiff as to be 
hardly recognizable. Sanctity always takes the form 
of moroseness, since art was not permitted to arouse 
the thought of the supernatural by producing forms 
that were free, as well as grand. Even the Madonna 
becomes sulky, though the small lips and thin nose 
seem to make a certain attempt at loveliness ; in male 
heads there is often an expression of malice quite odious. The drapery, arranged 
in a particular number of motives, has a special way of falling into delicate stiff 
folds and breaks ; when the type requires it, it is merely a surface of ornaments, 
gold and jewels: in other places, in easel pictures constantly, and often in mosa- 
ics, the gold serves to represent the high lights. The movements and positions 
become more and more lifeless, and in works of the 11th cent., like the old mo- 
saics of S. Marco, they preserve hardly a trace of life. 

" This style now gained great influence in Italy also. Not only did many im- 
portant countries and towns, Rome among the number, remain for quite a thou- 
sand years in an apparent, and partially real, dependence on the Greek empire, 
but Byzantine art likewise possessed special qualities, which for a time assured 
its predominance over all Italian art. In both countries the religious feeling was 
the same ; it was not till the middle of the 11th cent, that the ecclesiastical 
breach between Rome and Byzantium was, once for all, decided. 

"The artistic treatment of the action and expression does not go beyond what 
ancient art supplied to the Christian painter ; incidents like the Adoration of the 
Magi, the Last Supper, the Miracle of the Loaves, only appear as figures stand- 
ing in a row with some slight expression in the attitudes, and the signs of life 
here apparent soon stiffen into a purely conventional arrangement. 

" The first object of Christian art was to teach, and the aim of the artist was 
to render the truth he desired to present, without any regard to the beauty of the 
representation : and as the truths were supposed to be immutable, the represen- 
tations also came to have a like fixedness. 

" Thus in Constantinople, where, in course of time, the practice of almost all 
the best art of the Christian world was concentrated, there grew up a system of 
adapting a certain arrangement of the scenes to be represented, a particular man- 
ner of depicting single figures, according to their importance and rank, and a 
special treatment of every detail. Every one learned this system by heart as far 
as his capacity allowed, and then reproduced it, for the most part without any 
reference to nature. This repetition of something learned by heart is the essen- 
tial characteristic of what we call the Byzantine Style." 



PAIN 



275 




Christ — Seventh century. 



Hence it is that this style presents so many almost identical 
Madonnas, so many scenes with sacred figures exactly alike. 

In the seventh century the decline 
of Italian art becomes evident in the 
general rudeness of the work. The 
nose and hair are straight, the brows 
and eyes semicircular, the neck broad 
and heavy, the expression a wild, dis- 
\ mal stare. The nimbus appears as a 
Greek cross. 

About 700, the Council of Constan- 
tinople decreed that, in crucifixions, 
the human figure should supplant that 
of the lamb, and from that date on- 
ward ' ' crucifixions " take their place 
in Christian art. At first Christ is 
represented as fully clad, youthful, erect on the cross, calm, and 
with open eyes. In this cent, the Keys first appear as appertain- 
ing to St. Peter. 

In the ninth century, the eyes become staring, the hair straight 

down the forehead, and, in gen- 
eral, the taste exhibited is barba- 
rian. Tbe Virgin is in a long 
robe, without a girdle, with 
" wooden hands, projecting ears, 
and the figure and pose of a 
mummy." Winckelmann remarks 
that "in the ninth century, By- 
zantine mosaics sink into a rude- 
ness for which it is not easy to 
find a historical reason in the 
civilization of the times." 

To this time there appears to 
have been no representation of 
Christ as suffering ; the nearest 
approach to such sentiment is 
the Bearing of the Cross with 
Simon. 
In the tenth and eleventh cen- 
turies art had become extinguished in Italy. 

The twelfth century took pleasure in depicting suffering. The 




Crucifixion — Earliest known. 



276 



PAIN 




Christ — Twelfth cent. 



image of Christ was repulsive, the hands formless, the head large 
and grim, with red hair, red patches on the cheeks, wrinkled 
brow, and large, staring eyes, sometimes 
closed. 

During all this long period, the colors em- 
ployed in religious painting were entirely 
symbolical, and were used according to their 
signification, and in no wise with regard to 
harmony, beauty, or the inclination of the 
artist. 

Each color had usually a good and an evil 
sense, as it was used in connection with good 
or evil beings. White signified purity and 
joy. Red, love, royalty, and power ; also war, 
hatred, and punishment. Blue or sapphire, 
truth, fidelity, and heaven. Yellow or gold, 
goodness, faith, and marriage ; also deceit and jealousy. Green 
or emerald, hope or victory. Violet, love and truth united ; also 
passion and suffering. Gray, humility and mourning. Black, 
darkness, sorrow, wretchedness, 
hell. White and red roses, love 
with innocence. Red and green, 
love and hope. White and black, 
purity of life. 

Hence, Christ, after the Resur- 
rection, and Mary, in the Immacu- 
late Conception and Assumption, 
are robed in white. 

The usual dress of the Virgin is 
a red tunic, with blue mantle ; but 
after the crucifixion, violet. St. 
John has a blue tunic and red 
mantle. St. Peter has a blue tunic 
and a yellow mantle. Mary Mag- 
dalen, as a penitent, wears blue 
and violet ; as a saint, red. 

At last, after a downward course 
for nearly a thousand years, the 
human mind turned once again 
toward nature and the beautiful. 




Creation of Adam — Twelfth century. 

In the thirteenth century, 



Modern Art found its earliest masters. 



PAIN 



277 



To Central Italy belongs the high honor of having given birth 
to these new and better imputes. In Siena, Pisa, Arezzo, and 
Florence, while the Byzantine stil remained supreme, there be- 
gan to be a manifest effort toward truth and beauty. 

The morning star of this new day-dawn was Cimabue (1240), 
whose works, whilst fol- 
lowing traditional ar- 
rangements, show a 
clear perception of the 
elements of human 
grace. 

Forty years later came 
the great Giotto, who 
so largely abandoned the 
Byzantine, and so en- 
kindled a new enthusi- 
asm both by his untiring 
energy and his new con- 
ceptions of art, that he 
has ever been regarded 
as " the father of mod- 
ern painting." 

A love of nature, 
beauty, and grace once 
awakened, the larger 
cities of Italy soon be- 
came each a fostering home of Art, where, in due time, under 
some leading master, arose a favorite or leading style designated 
a "school," and characterized by some peculiarity or excellence 
of composition or coloring adopted by the master. Hence, the 
Schools of Venice, Bologna, Florence, Titian, Correggio, etc., 
and, later, of Germany, Holland, France. 




Miracle of the Loaves — Twelfth century. 



Schools of Painting. 

In connection with each painter in the list is given his leading 
subject or style. 

Abbreviations: Eel. , religious ; Mad., Madonnas ; Myth., mythological ; Hist., 
historical; Fig., figures; Land., landscapes; Port., portraits; Int., interiors; 
Gn,, genre; Vor., subjects various. 

* indicates see further under thohe titles. 



278 



PAIN 



British School. 

1618-1680, Lely, Sir Peter ; Port. 

1646-1723, Kneller, Sir G.; Port. 

1676-1734, Thornhill, Sir J.; Decora. 
♦1697-1764, Hogarth, W.; Fig. db Port. 
♦1723-1792, Reynolds, Sir J. ; Port. 
♦1727-1788, Gainsborough, T.; Port. 

1737-1815, Copley, J. S.; Port. db Hist. 

1738-1820, West, Ben.: Hist. db Port. 

1741-1806, Barry, J.; Hist. 

1756-1823, Raeburn, H.; Port. 

1757-1828, Blake, W.: Myth. 

1761-1807, Opie, J.; Hist. db Port. 

1763-1804, Morland, G.; Gn. db Swine. 

1769-1830, Lawrence ; Port. 
♦1775-1851, Turner ; Land. db Sea. 

1776-1837, Constable ; Land. 

1779-1844, Calcott ; Port. db Land. 
♦1785-1841, Wilkie ; Rustic. 

1786-1846, Hay don ; Hist. 

1786-1831, Nasniyth, P.; Land. 

1786-1831, Mulready ; Gn. 

1787-1849, Etty, William ; Far. 

1788-1847, Collins ; Land. 

1793-1865, Eastlake ; Hist. db Fig. 

1793-1867, Stantield ; Sea. 

1794-1859, Leslie ; Gn. 

1796-1864, Roberts ; Arch, db Int. 

1802-1873, Landseer ; Animals. 

1811-1870, Maclise, Dan.; Hist. 



Dutch School. 

1494-1533, Leyden, L. van ; Var. 

1562-1638, Haarlem, C. van ; Hist. db 
Port. 

1567-1641, Mierevelt, M. J.; Port. 

1567 1647, Bloemart, A.; Var. 
♦1582-1649, Teniers, D., Eld,; Gn. 
♦1584-1666, Hals, Frans; Gn. 

1586-1667. Poelemburg, Cor.; Myth. 
♦1590-1656, Honthorst, G.; Hist. 
♦1596-1656, Goyen, J. van ; Sea. 

1600-1674, Heem, J. D. de ; Fruit. 

1600-1670, Ruysdael, Sal.; Land, 
♦1600-1680, Wynants, Jan ; Land. 
♦1605-1691, Cuyp, A.; Land, db Cattle. 
♦1607-1669, Rembrandt ; Port. 

1607-1692, Witte, E. de ; Int. 
♦1608-1640, Brouwer, Adrian ; Gn. 
♦1608-1681, Terburg, G.; Int., Satin. 
♦1610?-1656?, J. & A. Both ; Land. 

1610-1693, Velde, Wm. van de, Eld.; 

Sea. 
♦1610-1685, Ostade, A. van ; Rustic. 
♦1610-1690, Teniers, Yr.; Gn. 
♦1611-1681, Bol, Perd.; Hist. 

1613-1670, Heist, B. van der ; Port. 
♦1613-1675, Dow, Gerard ; Candle-ight. 

1615-1660, Flinck, Govaert; Port. 
*1619-16<>8, Wonverman ; Horsemen. 



1619-1683, Neer, A. van der ; Moonlight. 

1620-1679, Aelst, W. van ; Game. 
♦1620-1683, Berchem ; Land db Cattle. 
♦1621-1657, Ostade, I. van; Village 

Scenes. 
♦1621-1660, Weenix, J. B.; Game. 

1623-1671 ?, Heem, C. de ; Firs. 
♦1625-1654, Potter, Paul ; Cattle. 

1625-1682, Ruisdael, J.; Land. 

1(525-1678, Jardin, K. du; Land. & Ani. 
♦1626-1679, Steen, Jan ; Gn. 

1627-1678, Hoogstraten, S. van; Gn. 

1630-1693, Kalf, Willem ; Kitchen. 

1630-1667, Metsu, Gabriel ; Gn. 
♦1631-1709. Bakhuisen. L.; Sea. 

1632-1696, Meer, J. van der ; Streets. 

1632-1671?, Hooghe, P.de; Int. 

1633-1686, Moucheron, F.; Land. 
♦1633-1707, Velde, W. van de, Yr.; Sea. 
♦1635-1681, Mieris, F. van, Eld.; Gn, 
♦1636-1695, Hondecoeter, M.; Poultry. 
♦1637-1712, Heyden, J. van der: Arch. 
♦1638-1709, Hobbema, M.; Land. 
♦1639-1672, Velde, A. van de ; Land. 

1639-1679, Mignon, Abraham ; Firs. 

1639-1694, Netscher. G.; Gn., Children. 

1640-1691, Slingeland, P. van ; Gn. 
♦1640-1719, Weenix, J.; Dead Game. 

1643-1706, Schalken, G.; Candlelight. 
♦1659-1722, Werff, A. van der , Fig. 

1662-1747, Mieris, W. van ; Gn. 

1682-1749, Huysum, J. van; Fruit db 
Firs. 

1744-1808, Os, Jan van ; Fruit db Firs. 



Flemish School. 

♦1366-1426. Eyck, H. van ; Rel. 
♦1390-1440?, Eyck, J. van ; Rel. 
♦1391 ?-1475, Bouts, D.; Rel. 
♦1400 ?-1464, Weyden, R. van der ; Rel. 
♦1430?-1495, Memling ; St. Ursula. 
♦1466-1531, Matsys, Q.; Gn. 

1470-1532, Mabuse, J. G.: Port. 
♦1488-1542, Orley, B. van ; Rel. 

1506-1566, Susterman. L.; Rel. 

1520-1570, Floris, F.; Rel. db Myth. 
♦1520-1569, Brueghel,P.,Eld.; Peasants. 

1531-1603, Vos, Martin de ; Fig. 

1546-1580, Pourbus, F., Eld.; Port. 
♦1556-1626, Bril, Paul: Rel. 
♦1564-1637, Brueghel, P., Yr.; "Hell." 

1570-1622, Pourbus, F., Yr.; Hist. 
♦1570-1651, Neefs, P., Eld.; Torchlight. 
♦1577-1640, Rubens, P. P.: Var. 
♦1579-1657, Snyders, Fr.; Ani. db Game. 

1582-1669, Crayer, G. de ; Rel. 
♦1589-1642, Brueghel, J., Yr.; Velvets. 

1593-1670?, Snayers, P.; Hist. 
♦1593-1678, Jordaens, J.: Var. 

1597-1637, Rombouts. T.; Rel. 

1597-1681, Sustermans, J.; Hist., Port. 
♦1599-1641, Dyck, A. van; Port, db Var. 



PAIN 



279 



1599-1652, Utrecht, A. van ; Fruit db 
Firs. 

161)0-1671, Oost. J. van, Eld.; Port. 
*1600-1675, Neefs, P., Yr.; Ch. Int. 
♦1602-1674, Champaigne, P. de; Port. 

1607-1675, Diepenbeck, A.; Fig. 

1607-1678, Quellin, E.; Fig. 

1609-1661, Fyt, Jan ; Dead Game. 

1634-1690, Meulen, van der ; Hist. 

1639-1713, Oost, J. van, Yr.; Port. 

1641-1711, Lairesse, G. de ; Myth. 

164S-1727, Huysmans, C. ; Land. 

1662-1740, Bloemen, J. P. van ; Land. 
♦1755-1826, Ommeganck ; Land db A?ii. 

1803-1874, Wappers, Gus.; Hist. 

1815-1869, Leys, J. A. H. : Hist. 



French School. 

1500?-1589?, Cousin, J.; Fig. 

1500-1572, Clouet, F.; Port. 

1567-1619. Fr6minet, M.; Decom. 

1590-1649.' Vouet, S.; Decora. 

1592-1635, Callot, J.; Battles. 
*1594-1665, Poussin, N.; Myth, db Var. 
♦1600-1682, Claude ; Land. 

1605-1668, Mignard, N.; Port, db Deco. 

1609-1674. Boullongne, L. de ; Eel. 

1606-1656; Hire, L. de la ; Hint. 

1610-1695, Mignard, P.; Port. 
♦1613-1675, Poussin, Gas.: Land. 

1617-1655, Sueur, E. le; Bel., Myth. 
♦1619-1690, Brun, C. le ; Hist., Myth. 

1621-1676, Courtois, J.; Battles. 

1659-1743, Rigaud, H.; Port. 

1661-1743, Desportes, F.; Dogs. 
♦16S4-1721, Watteau, A.; Fetes. 

1684-1745, Loo, J. B. van: Hist., Myth, 

1686-1755, Oudrv, J. B.; Chase. 

1688-1737, Moine, Fr. le ; Myth. 

1699-1749, Subleyras, P. ; Bel. 

1704-1770, Boucher, F.; Pastoral. 

1705-1765, Loo. C. A. van; Myth db 
Port. 



♦1714-1789, Vernet, C. J.: Seaports. 

1725-1805, Greuze, J. B. ; Port db Gn. 
♦1748-1825, David, J. L.; Hist., Myth. 

1755-1842, Brun, Mrae. le ; Port. 
♦1758-1835, Vernet, A. C. H. ; Horses. 

1758-1823, Prud'hon ; Fig. 

1767-1824, Girodet ; Fig. 

1770-1837, Gerard, Fr.; Port., Hist. 

1771-1835, Gros, Ant. J.; Battles. 

1774-1833, Guerin ; Fig. 
♦1789-1863, Vernet, H.; Battles. 

1791-1824, Gericault ; Fig. db Horses. 

1794-1835, Robert, L. L. ; Genre. 
♦1795-1858, Scheffer, Ary ; Scrip. 
♦1797-1856, Delaroche, P.; Hist. 

1799-1863, Delacroix, E.; Hist. 



German School. 

?-1378, Wilhelm, W. von ; Bel. 

?-1451, Lochner, S.; Bel. 

1420-1499. Schongauer,M.; Bel. 

1434-1519, Wolgemut, M.; Bel. 
♦1460-1523, Holbein, Eld.; Bel. 
♦1471-1528, Diirer, A.; Fig. db Var. 
♦1472-1553, Cranach, L.; Fig. 
♦1497-1543, Holbein, Yr.; Fig. 
♦1515-1586, Cranach, L., Yr.; Fig. 

1574-1620, Elzheimer, A.; Land. 

1606-1688, Sandart, J.; Hist, db Port. 

1631-1685. Roos, J. H.; Animals. 
♦1685-1749, Denner, Bait.; Old Faces. 

1712-1774, Dietrich, C; Copies. 
♦1728-1779, Mengs. A. R.; Myth. 
♦1741-1807, Kauffmann, A.; Port. 

1768-1814, Mind, Gott.; Cats. 

1783-1867, Cornelius, P.: Faust. 

1789-1869, Overbeck, Fr.; Bel. 

1804-1874, Kaulbach ; Hist. 

1768-1839, Koch ; Land. 

1794-1872, Schnorr. Ju. ; Hist.Nibelung. 

1808-1880, Lessing,C. F.; Hist.db Land. 

1816-1859, Rethel ; Hist. 

1816-1858, Leutze ; Hist, db Land. 



Italian School. 

The principal subdivisions of Italian Art, are into the Schools 
of Lombardy, Venice, Bologna, Florence, Siena, Rome, and Na- 
ples. 

Occasionally an artist appears with the characteristics of no 
distinct school, in which case he is ranked in that to which his 
style most nearly corresponds. 



1200 ? ?, Gnido of Siena ; Rel. 

♦1240-1302 ?, Cimabue ; Ft. Rel. 

1260-1320 ?, Duccio : Si. Rel. 
♦1266-1337. Giotto ; Fl. Rel. 

1280-1348, Lorenzetti ; Si. Rel. 
♦1300-1366, Gaddi, T.; Fl. Fresco. 



♦130S-1368?, Orcagna; Fl. Rel. 

1316-1409, Aretino, S.: Fl. Rel. 

1324 ?, Giottino ; Fl. Rel. 

♦1325-1396, Gaddi, Ag. ; Fl. Rel. 

1370-1450, Fabrino ; Fl. Rel. 
♦1387-1455, Angelico, Fra.; Fl. Rel. 



280 



PAIN 



1394-1474, Squarcione ; Padua, Fig. 
*1395-1470, Bellini, J.; Ven. Rel. 

1396-1479. Dono, Paolo di ; Fl. Birds. 
*1401-1428, Masaccio ; Fl. Fig. 
*1412-1469, Lippi, Fra ; Fl. Madon. 
*1415-1492, Francesca, P.; Fl. Persp. 

1420-1498, Gozzoli ; Fl. Rel. 
*1421-1507. Bellini, Gen.; Ven. Fig. 
*1427-151«; Bellini, G-io.; Ven. Fig. 
*1430 ?-1495 ?, Crivelli : Ven. Rel. 
*1431-1506, Mantegna ; Fl. Rel. Hist. 

1482-1488, Verrocchio ; Fl. Fig. 

1433-1498, Pollajuolo, A.; Fl. Fig. 

1439-1506, Roselli ; Fl. Rel. 
*1440?-1494, Santi, Gio.; Fl. Rel. 
*1441-1521, Signorelli ; Fl. Hist. 

1443-1596, Pollajuolo, P.; F(. Fig. 
*1440-1524. Peragino ; Fl. Fig. 
*1447-1510, Botticelli : Fl. Myth. 
*1449-1594, Ghirlandaio, D.; Fl. Rel. 
♦1450-1517, Francia, Fr.; Bol. Rel. 

1450-1522?, Carpaccid, V.; Ven. Hist. 
*1452-1519, Vinci, da ; Lorn. Fig. 

1454-1513, Pinturicchio ; Fl. Rel. 

1455 ?-1523, Montagna ; Lorn. Rel. 
*1455?-1525, Boreonone ; Lorn. Rel. 
*1459-1537, Credit Lor. di ; Fl. Rel. 
*1460-1504, Lippi, Filippino ; Fl. Rel. 

1466-1524, Garbo, G. A.; Fl. Rel. 
*1469-1517, Bartolommeo, Fra; FL Rel. 

1470-1520, Basaiti, M.; Fl. Rel. 

1470-1523, Viti, T.; Fl. Madon. 
*1470-153.J, Luini, Ber.; Lorn. Rel. ' 

1473-1529. Morone, F.; Lorn. Rel. 
*1473-1549, Sodoma, II; Fl. Rel. 

1474-1515, Albertinelli ; Fl. Rel. 

1474-1558, Dossi, D.; Lorn. Myth. 
*1 475-1564, Angelo, M.; Fl. Fig. 
*1476-1511, Giorgione ; Ven. Fig. 
*1477-1576, Titian ; Ven. Fig. 

1479-1560, Dossi, D.; Fl. Rel. 
*1 480-1528, Palma, Vec; Ven. Fig. 

1480-1558, Lotto, L.; Loin. Rel, 
*1480 ?-1530 ?, Spagna, Lo; Nap. Rel. 

1481-1536, Peruzzi, B. ; Si. Rel. 
*1483-1520, Raphael ; Bom. Fig. 
*1483-1554?, Alfani, L\; Fl. Rel. 
*1483-1539. Pordenone ; Ven. Port. 

14S3-1560, Ghirlandaio, R.; Fl. Rel. 

14S4-1542, Bagnacavallo, B.; Bol. Rel. 

1484-1549, Ferrari, G.; Lorn. Rel. 

1484-1549, Sesto, 0. da ; Lorn. Fig. 
*1485-1547, Piombo, S.; Ven. Port. 

1486-1522, Morando, P.; Lorn. Port. 

1486-1551, Beccafumi, D.; Si. Rel. 

1488-1528, Penni, G. F.; Bom. Fig. 
*1488-1525, Sarto, A. del; Fl. Rel. 

1490-1549, Imola, da; Bom. Fig. 

1490-1570, Primaticcio, F.; Bol. Myth. 

1490?-1525?, Benvenuto, G. B.; Bol. 
Fig. 



*1491-1553, Bonifazio, V.; Ven. Rel. 
*1494-1534, Correggio ; Lorn. Fig. 

1494-1556, Pontormo, J.; Fl. Port. 

1495-1543, Caldara, P.; Lorn. Rel. 
*1498-1546, Romano, G.; Bom. Fig. 

1498-1555 ?, Moretto, II ; Ven. Rel. 

1500-1547, Vaga, del ; Bom. Fig. 
*1500-1571, Bordone, P.; Ven. Port. 
*1502-1572?, Bronzino, A.; Fl. Port. 
*1504-1540, Parmegiano ; Lorn. Rel. 
*1509-1566, Volterra, D. da; Fl. Rel. 

1510-1578, Moroni, G. B.; Lorn. Port. 
*1510-1592, Bassano ; Ven. Gn. 

1512-1574, Vasari, G.; Fl.Tort. 
*1518-1594, Tintoretto ; Ven. Fig. 

1522-1582, Schiavone, A.; Ven. Port, 
*1528-1588, Veronese, P.; Ven. Bib. & 

Myth. 
*1528-1612, Baroccio, F.; Bom. Fig. 
*1535-1607, Allori, Al.; Fl. Port. 
*1544-1628, Palma, Yr.; Ven. Myth. 
*1555-1619, Carracci, Lud.; Bol. Rel. 

1557-1633, Crespi, G. B.; Lorn. Fig. 
*1557-1602, Carracci, Ag. ; Bol. Rel. 

Myth. 
*1559-1613, Cigoli, L. C. da ; Fl. St. 

Fran. 
*1560-1609, Carracci, An.; Bol. Myth. 
*1569-1609, Caravaggio, M. A.; Nap. 

Gn. 
♦1575-1642, Guido (Reni) ; Bol. Fig. 
*1577-1621, Allori, Ch.; Fl. Land. 
*1578-1660, Albani ; Bol. Myth. 

1580-1615, Schedone ; Lorn. Fig. 
*1581-1641, Domenichino ; Bol. Rel. 

1581-1647, Lanfranco ; Bol. Groups. 

1590-1650, Padovanino; Ven. Fig. 
*1591-1666, Guercino ; Bol. Fig. 
*1596-1669, Cortona ; Fl. Rel. 
*1605-1685, Sassoferrato ; Boon. Madon. 
*1615-1673, Rosa. Sal v.; Nap. Land. 
*1616-1686, Dolci, C; Fl. Fig. 

1625-1713, Maratta, C; Bom. Mad. 

1632-1705, Giordano ; Nap. Rel. 

1697-1768, Canaletto : Ven. Archi. 

1702-17S7, Batoni (Battoni), P.; Bom. 
Fig. 

1712-1793, Guardi ; Ven. Arch. 



Spanish School. 

1510-1586, Morales. L. de ; Bel. 

1550-1628 ?, Ribalta, F. de ; Bel. 
*1 588-1656, Ribera, J. de ; Bel. 

1597-1628, Ribalta, J. de ; Bel. 
* 1598-1 662, Zurbaran, F.; Monks. 
*1599-1660, Velasquez ; Var. 
*1618-1682, Murillo ; Mad. & Var. 

1630-1691, Leal, J. de V.; Bel. 

1746-1828, Goya, F.; Caricature. 



PAIN 



281 



For reference to the following painters, see under the name 

adjoined. 

Guidi, Tonimaso, see Masaccio. 
Licinio Regillo, see Pordenone. 
Luciani, see Piombo. 
Mazzuoli, see Parmegiano. 
Pippi, see G. Romano. 
Ponte, see Bassano. 
Porta, della, see Bartolommeo. 
Kaibolini, see Fr. Francia. 
Razzi, see Socloma. 
Regillo, L., see Pordenone. 
Reni, see Guido. 
Rhyn, see Rembrandt van. 
Robusti, see Tintoretto, 
Ricciarelli, see Volterra. 
Salvi, see Sassoferrato. 
Sandro, see Gozzoli, 
Santi, see Raphael. 
Sanzio, see Raphael. 
Spagnoletto, see Ribera. 
Spinello, see Aretino. 
Tisio, Ben., see Garafalo. 
Vannucci, see Perugino. 
Vannucchi, see del Sarto. 
Varotari, see Padovanino. 
Vecellio, see Titian. 
Zampieri, see Domenichino. 

the Great Masters. 

Fornarini, Piombo, Uffizi. 

John, St., with Lamb, Murillo, Nat. 

Gall. 
Jupiter & Io, Correggio, Berlin. 
La Notte, Correggio, Dresden. 
Lamb, Ad. of Immac, van Eyck, 

Cath., Ghent. 
Landscape, Gas. Poussin, Nat. Gall. 
Landscape, Gas. Potcssin, Nat. Gall. 
Landscape, Salvator Rosa, Nat. Gall. 
Last Judgment, M. Angelo, Sis. Chap. 
Last Supper, da Vinci, S. M. delle 

Grazie, Milan. 
Leda and Swan, Correggio, Berlin. 
Madonna, Cimabue, S. M. Novella, 

Florence. 
Madonna, Holbein, Dresden. 
Madonna, Holbein, Darmstadt. 
Madonna, Masaccio, S. M. del Carmine, 

Florence. 
Magdalen, Batoni, Dresden. 
Magdalen. Reading, Correggio, Dres- 

den. 
Magdalen, Guido, Berlin. 
Magdalen, Titian, Pitti. 
Mater Dolorosa, Bold, Uffizi. 
Marriage a la Mode, Hogarth, Nat 

Gall. 
Marriage of Cana, Veronese, Louvre. 
Martyrs, The, Murillo, Hermitage. 
Mona Lisa, da Vinci, Louvre. 
Night-Watch, Rembrandt. Rijk's Mua 



Allegri, see Correggio. 
Allori, Ag. , see Bromino. 
Amerighi, see M. A . Caravaggio. 
Barbarelli, see Giorgione. 
Barbiexi, see Guercino. 
Bazzi, see Sodoma. 
Beato, II, see Angelico. 
Biagio, see Pintaricchio. 
Bigordi, see Ghirlandaio, D. 
Bondone, see Giotto. 
Boninsegna, see Duccio di. 
Bonvicino, see II Moretto. 
Buonarroti, see M. Angelo. 
Caliari, see P. Veronese. 
Caravaggio, P. C, see Caldara. 
Cardi, see Cigoli. 
Carucci, see Pontormo. 
Cione, see Orcagna. 
Claude, see Lorraine. 
Conegliano, see Cima. 
Dughet, see G. Poussin. 
Fiesole, see Angelico. 
Filipepi, see Botticelli. 
Frate, II, see Bartolommeo. 
Gel6e, see C. Lorraine. 
Grannucci, see G. Romano. 

Paintings, Noted, of 

Adoration of Shepherds, Rembrandt, 
National Gallery. 

Anatomical Lecture, Rembrandt, The 
Hague. 

Assumption, Titian, Venice. 

Aurora, Guido, Rospigliosi Pal. 

Beatrice Cenci, Guido, Barberini Pal. 

Bull, Young, Potter, The Hague. 

Cecilia, St., Bold, Dresden. 

Cecilia, St., Raphael, Bologna. 

Chapeau de Poil (paille), Rubens, Na- 
tional Gallery. 

Christ and Angels, Fra Angelico, Na- 
tional Gallery. 

Christ Appearing to M. Magdalen, Ti- 
tian, National Gallery. 

Conception, Immac, Murillo, Louvre. 

Coronation of Josephine, David, Ver- 
sailles. 

Crucifixion, Rubens, Antwerp. 

Descent from the Cross, Rubens, Cath., 
Antwerp. 

Descent, Volterra, Trinita de 1 Monti, 
Rome. 

Danae, Correggio, Borghese Pal. 

Jerome, St., Gio. Bellini, Nat. Gall. 

Jerome, St., Domenichino, Vatican. 

Ecce Homo, Guido, Dresden. 

Family of Darius at Feet of Alex., P. 
Veronese, Nat. Gall. 

Farmyard, Potter, Hermitage. 

Fornarini, Rapkael, Barberini Pal. 



282 PALA 



Paradise, Tintoretto, Doges' Pal. 
School of Athens, Raphael, "Vatican. 
Sistine Madonna, Raphael, Dresden. 



Transfiguration, Raphael, Vatican. 

Venus, 'Titian, Uffizi. 

Vestal Virgin, Kauffman, Dresden. 



Palace of the Conservators. See Part II., Palace of 
Conservators. P. 463. 

Palais de I'lndustrie (pal-a'-deh-lan'-doos-tree), Paris,, 
on the s. side of the Champs Elysees, about midway from Place de 
la Concorde, to the Arc de Triomphe. Erected in 1852; in 1855 
used for the first great French Exposition. Over the principal 
entrance is a colossal group of France awarding wreaths of honor 
to Art and Manufacture. The building is now used for a per- 
manent exhibition of works of industry and art. It is about 800 
ft. in length, and is 115 in height. 

* Palais de Justice (pal-a'-deh-joos'-tees), Paris, at the 
lower end of He de la Cite. The royal residence of the French 
monarchs in Paris until the 14th cent, was upon the island. 
Among the buildings containing portions of these ancient struc- 
tures are the Palais de Justice, the Conciergerie, and the Pre- 
fecture de Police. In the disastrous conflagrations of 1618 and 
1776, four towers alone escaped : the Tour de l'Horologe, sq.; 
Tour du Grand Caesar, ro.; Tour de Montgomery, ro.; and Tour 
d' Argent, ro. Of these, however, as well as of the buildings 
which had been restored, little remained after the Communist 
conflagration in 1871 . 

The first public clock in France was displayed upon the Tour 
de l'Horologe, 1370, and remained iu use nearly 4 centuries. As- 
sociated with the Salle des Pas Perdues, the magnificent hall of 
the palace, are many events of historical importance. On the r. 
is a monument to Malsherbes, the defender of the unfortunate 
Louis XVI. , erected by Louis XVIII. , 1821. The bell in the tower is 
the one which gave the signal for the St. Bartholomew massacre, 
it then being in the tower of the Church of St. Cer. l'Auxerrois. 

♦Palais Royal (pal-ay'-roy-ahl), Rue de Bivoli, Paris, opp. 
the Louvre ; erected by Cardinal Richelieu, 1626, and called Pal- 
ais Cardinal ; presented by him to Louis XIII. and then called 
Palais Royal ; afterward occupied by Anne of Austria with her two 
minor sons (Louis XIV. and Philip). Louis XIV. presented it to 
his brother Philip, whose son, Philip the Regent, made it his resi 
dence. During his occupancy occurred the disgraceful scenes so 
well known in the history of those times. His grandson, Philip 
Egalite (beheaded in 1793), to recover his squandered wealth, 
erected the shops now surrounding the court and garden. Des- 



PALA 288 

moulins here, in 1789, assumed the green cockade, aroused the 
people to arms, organized the National Guard, and led to the at- 
tack and capture of the Bastille. From 1801 to 1807, Napoleon 
here assembled the Tribunat, whence it was called the Palais du 
Tribunat. In 1815 it was occupied by Lucien Bonaparte, and 
upon the Restoration was returned to the Orleans family, and oc- 
cupied by Louis Philippe until he ascended the throne, 1830. 

In the Revolution of 1848 the Royal Apartments were com- 
pletely sacked ; pictures, porcelains, and plate-glass sharing 
alike. After this time it was known as Palais National, until 
Napoleon III. restored the present title. During the reign of 
the late Napoleon it was the residence of Prince Jerome Na- 
poleon. In the general conflagration set by the Communists, in 
1871, the s. portion of the Palais was consumed — now fully re- 
built. 

The shops, which are very attractive by day or evening, extend 
under a colonnade entirely around the court or garden ; entrance 
upon the 1. of the front. Among the statuary are Apollo Belve- 
dere, Diana, Youth bathing, Eurydice bitten by a serpent. Chairs 
in the garden to let, 2 sous. 

** The Pal-a-tine Hill (tine or teen), Rome. Upon this 
hill stood the Oppidum or fortress of the ancient Pelasgi ; and 
here Evander welcomed .ZEneas. And when iEneas established 
his new city, this hill was included within its boundaries. The 
northern portion was reserved for the temples of the gods and 
for the residence of the kings, and in later times of the aristoc- 
racy. It was never occupied by the plebeians. Here Romulus 
and Remus were brought up by Faustulus, the shepherd ; Au- 
gustus was born ; the Gracchi, Catulus, Marius, Octavius, Emil. 
Scaurus, Clodius, Cicero, Marc Antony, Drusus, and Crassus had 
their homes ; and Augustus, Tiberius, Caligula, Commodus, Do- 
mitian, Nero, Vespasian, and Sept. Severus had their palaces on 
the Palatine Hill. 

The Palace of Augustus (21), the first erected, was on the s. w. 
part of the hill, where the Villa Mills now stands, and west- 
ward. 

In the sacking of the city by Genseric, a.d. 455, the palaces 
suffered irreparable injury. In 663, the palace of Vespasian was 
occupied by Emp. Constans, and it is probable that it continued 
habitable for a century afterward. 

At length it fell into entire ruin, and the whole became so 



284 



PALA 



covered with debris that for centuries little was to be seen except 
here and there some nameless ruin, till at last all knowledge of 
the buildings and localities on the Palatine was lost. 

Since 1846 extensive excavations have been made, and many 
localities uncovered, and their structures and rooms identified. 



v ia. di 




Arch, of 
Titus I 



Via. Sacra 



Forum. 



Plan of the Palatine Hill. 



1. Entrance from the Fo- 6. Tablinium. 
7. Lararinm. 
Augus- 8. Peristyle. 
Triclinium. 
Nymphaeum, or Bath. 
Biblioteca. 

Pal. of Sep. Severus. 
Temple of Jupiter Vic- 
tor ? 
House of Germanicus. 



rum. 

2. Birthplace of 

tus. 

3. Temple of Jupiter Sta- 

tor. 

4. House of Tarquin ? 

5 to 10. Palace of Vespa- 
sian and Domitian. 

5. Basilica. 



9. 
10. 

11. 
12. 
I'd. 

14. 



15. 
16. 
17. 
18. 
19. 
20. 
21. 



22. 



House of Romulus ? 
Palace of Tiberius. 
Palace of Caligula. 
Porta Romana. 
Museum. 
House of Cicero. 
Convent Grrounds,cover- 

ing in part the Pal. 

of Augustus. 
S. Bonaventura. 



Entering from the Yia Sacra (vee'-ah-sack'-rah) (1), beyond the 
Forum, on the r. are seen the massive ruins of the Palace of 
Caligula (17). Ascending the first section of the stairs and turn- 
ing to the 1. we proceed along the base of the hill, where stood 
many houses of the Patricians, till nearly opposite the Arch of 
Titus. 

Birthplace of Augustus. Near this point (2) — probably some- 
what farther toward the Coliseum — was the site of the house of 
Octavius, "at the top of a staircase;" where his son, Octavius 
(Augustus), was born. After the death of Augustus, it was con- 
verted into a chapel and consecrated to him. 

Turning to the r. and following the depression toward the 



PALA 285 

summit of the hill, on the r. are seen portions of Roma Quad- 
raia (walls), dating prior to Romulus. Beyond r. are the foun- 
dations of the 

Temple op Jupiter Stator (3), built by Romulus in pur- 
suance of a vow made to Jupiter when in a battle with the 
Sabines. Here Cicero pronounced his first oration against Cati- 
line. The large pavement blocks here seen are a portion of the 
ancient Via Nova. On the 1. fragments of the Porta Mugonia, 
one of the three gates of the Rome of Romulus. 

Adjacent was the seat (4) of Ancus Martius, King of the Sabines, 
and of Tarquinius. It was here that the latter was murdered, 
and that Tanaquil, his wife, addressed the mob from a window. 

** Palace op Vespasian (zian) and Domitian (do-mish'-e-an) 
(5-10). Vespasian filled the depression between the Velian Hill on 
the 1. and the Germale on the r. with massive cross- walls, and 
upon these erected his imperial palace. 

Afterward Domitian rebuilt and enlarged the residence of 
Vespasian, and it was occupied by several successive emperors. 

The ruins at present uncovered are chiefly those of the Ves- 
pasian palace. This was the seat of imperial power during the 
2d and 3d centuries. The front is the Atrium — the station of 
the guard — an oblong court surrounded with columns. 

Ba-sil-i-ca Jovis, or Hall of Justice (5). Here the Emperor 
sat for important trials. At the farther end was the elevated 
tribune, separated from the nave by a marble railing. A frag- 
ment of one leg of the Emperor's chair yet remains in the pave- 
ment. Below was the prisoner's box or ki Confession." 

The Tab-liri '-i-um (6), the great Throne-room, where audiences 
were granted by the Emperor. It was covered by a vast arch 
supported only by the side walls. In the niches were found 
statues, among which were a colossal Hercules and Bacchus. 

The La-ra-ri-um (7) was the chapel of the household gods or 
La-res. At the farther end is a small marble altar having on the 
front the figure of the GTenius Familiaris, with head covered ; at 
the sides, the Lares with boots, pitcher, etc. 

The Peristyle (8). To the rear of these three rooms, was a 
large open court with statues, fountains, flowers and shrubbery, 
surrounded by a colonnade. This was a favorite resort of Domi- 
tian, who from his constant fear of being murdered, had the walls 
covered with a kind of marble polished to reflect like a mirror. 

The Tri-cliii -i-um (9) or Dining-room. In the centre, a flight 



286 PALA 

of steps leads down to a structure called the Baths of Livia, of 
which Vespasian made use as substructures for his palace. It was 
from this hall that Pertinax, hearing confusion among the guard, 
went forth to be murdered in front of the palace. Beyond is 
the Vomitorium, to which the gorged feasters retired to tickle 
their throats with a feather, that they might return with renewed 
appetite. 

The Nym-phcn' -um (10) or Bath-room, with niches for statuary, 
exhibits remains of an alabaster pavement and an oval fountain. 
In this room the Eros of the Louvre was discovered, 1862. Be- 
yond the portico are some ruins designated the Biblioteca (11) or 
Palatine Library, adjacent to which is a room with seats against 
the walls, called the Accademia. Neither of these rooms has 
been identified with any great degree of certainty. To the left 
we pass to the rear of the Palace of Augustus, enclosed within 
the Convent grounds, and at present inaccessible ; and at some 
little distance beyond we find the ruins (12) of the Palace of Sept. 
Severus, which, though of greater extent than those before men- 
tioned, are of comparatively small interest, from their not having 
been identified. 

Returning, near the corner of the Nymphaeum, are the foun- 
dations of the Temple of Jupiter Victor (13), erected by Fabius 
Maximus, in obedience to a vow made at the battle of Sentinum, 
B.C. 295. The grand stairs have been partly restored — on which 
is an altar, with grooves for the blood of the victim. This point 
commands an extensive view of the city and the valley of the 
Tiber to the west and south. 

**The House op Germanicus (14), excavated 1869. Its walls 
are decorated with paintings unsurpassed by any yet found at 
Pompeii. Central room : r., Mercury releasing Io from Argus ; 
middle wall, Galatea and Polyphemus ; 1., lead water-pipes, upon 
which are inscriptions indicating the history of the house. Room 
to the r. decorated with garlands and vases of flowers and fruit, 
with masks; room on the 1. with arabesques and airy figures 
painted on a white ground. The Triclinium, to the r. in the 
court, with red walls, is ornamented with large landscapes. The 
stairs near this room lead to the small bed-chamber and other 
rooms of the house. 

The House op Romulus (15). This point is sometimes des- 
ignated as the house of Romulus, and sometimes as the Den of 
the Wolf. (Highly apocryphal ! ) 



PALA 287 

The Palace op Tiberius (16) stood along the northern edge 
of the hill, looking down upon the Velabrum. Here Livia, wife 
of Augustus, and mother of Tiberius, died at the age of 82 or 86. 
The arches seen are the quarters of the guard. From the vicin- 
ity of the house of Germanicus a covered passage extends to near 
the Casino, at the main entrance. It was in this passage that 
Caligula was assassinated, a.d. 41, when returning from witness- 
ing a play in the atrium of his palace. 

♦Palace of Caligula (17). To the left, and farther along 
the margin of the hill, extending to the Via Sacra, upon the n.e. 
corner of the Palatine. Extensive ruins of this palace remain, 
of which considerable portions have been excavated, although the 
purpose of the different rooms has not been clearly determined. 

' ' Here Caligula lived his half -insane, imperial life. Here at a 
public banquet bursting into a fit of laughter which caused the 
consuls to inquire into the cause of his mirth, he informed them 
he was thinking-how by a single word he could cause both their 
heads to roll on the floor." 

Here, also, Claudius, his successor, on being informed at a 
feast that his wife Messalina was dead, ' ' asked no questions and 
went on eating his supper;" and here Agrippina, his next wife, 
gave him his last supper of poisoned mushrooms, to make way for 
her son Nero. 

The Bridge op Caligula (18) extended from his palace to 
the summit of the Capitoline Hill ; built that he might the more 
readily hold intercourse with Jupiter in his temple. It was de- 
stroyed by Claudius. Below, at the corner near the Forum, may 
be seen remains of some of the arches. 

Porta Romana (18). Some ruins at the extreme corner are 
identified as the ancient gateway of the Palatine, near which, 
outside, were the Sabine Temple of Victory, and the Temple of 
Cybele. 

The Museum (19), nearer the entrance, contains many objects 
of value found in excavating — statues, busts, reliefs, coins, ivory, 
glass, etc. 

The House op Cicero (20) was on the lower ground between 
the Porta Romana and the present entrance. In this vicinity 
also resided C. Gracchus, F. Flaccus, L. Q. Catulus, the poet, 
Marius, and Claudius. 

The Palazzo Reale (pah-laht'-zo-ray-ah'-lay), Naples, 
erected, 1600 ; burned, 1837 ; rebuilt, 1841. Upon applying at 



288 PALI 

the door, the porter (small fee) conducts the visitor to the office, 
where he will be furnished with a card of admission to the palace 
and also to Capodimonte, Caserta, and other places (no fee). An 
attendant (1 fr.) shows the visitor through the palace and gar- 
dens. Adjoining the palace is the Theatre San Carlo, the most 
capacious in Europe : built 1737 ; burned, 1816 ; since rebuilt. 
Many of the compositions of Rossini, Donizetti, Bellini, and Mer- 
cadante, were first performed here. 

Pallavicini Villa. See Genoa. 

Palma, Ciacomo (Jacopo), called II Vecchio (vek'-ke-o), 
or the Elder, 1480-1528, b. at Serina, Italy. One of the best 
masters of the Venetian School in the management of light, shade, 
and color. His backgrounds are usually of a warm summer 
landscape. He excels in fine, elegant female figures, and in rich 
and tasteful apparel. In the voluptuous tenderness of his female 
forms and in the richness of his coloring he is scarcely inferior to 
Titian. His Three Graces, in the Dresden Gall., are said to be 
portraits of his daughters ; and his St. Barbara, that of Violante, 
his favorite. 

Principal Works : Belv. , seven ; Bergamo, 156, 285 ? ; Berlin, 174, 197A ; 
Borgh., 32 ; Brera, 168, 284 ; Colon., Holy Fam.; Dres., 242-3-4-5-6 ; Hamp. Ct., 
115, 79?, 163?; Hermit., 90, 91, 92; Louvre, 274; Munich, 588; Naples, 28; 
Pitti, 38, 84, 254 ; Siena, 81 ; Venice, Doges' Pal., 593 ; Uffi., 619, 623, 650 ? 

Palma, Ciacomo (jack-o-mo), called Giovine, or the 
Younger, 1544-1628 ; nephew of the Elder. Preferred mytho- 
logical subjects, half-nude figures in the midst of a delightful 
landscape. 

Principal Works : Cassel, 97, 101, 98; Naples, 57; Venice, Doges' Pal., 40. 
The Last Judgment and Christ adored by two Doges, among hia best works. 

Panorama, Avenue des Champs Elysees, Paris, adjacent to 
the Palais de l'Industrie. Open daily, 2 f rs. ; Sun. , 1 fr. At present 
exhibiting the " Siege of Paris." A remarkably vivid representa- 
tion. 

Panth6on, The (pan-tay-ofl), or ch. of St. Genevieve, 
Paris. A church was erected here in the 6th century over the 
tomb of St. Genevieve, the protectress of Paris. Having fallen 
into decay, it was rebuilt at the instance of Mme. de Pompadour, 
Louis XV. laying the corner-stone, 1764. It occupies a most 
commanding position near the Luxembourg Palace, and is one of 
the finest architectural structures of the city. 

The tympanum, 117 ft. long and 23 ft. high, contains a group 



PANT 289 

of statuary by d' Angers, of " France conferring honors upon her 
illustrious men." On the 1. are Fenelon, Malesherbes, Mirabeau, 
Carnot, Voltaire, Rousseau, Lafayette, and David ; on the r. , 
Napoleon and soldiers. Beneath is the inscription, " Aux Grands 
Hommes la Patrie reconaissante." Below are two groups, the 
Baptism of Clovis, and Attila and St. Genevieve. 

The plan of the church is that of a Greek cross, each arm ter- 
minating in a pediment. 

The interior is of less interest than the visitor naturally antici- 
pates. The dome was decorated by Gros, representing Clovis, 
Charlemagne, St. Louis, and other kings of France paying hom- 
age to St. Genevieve. 

Beneath are extensive vaults, in which rest the remains of 
Lagrange, Bougainville, and Marshal Lannes. Mirabeau and 
Marat were interred here, but were afterward removed. There 
are cenotaphs to Voltaire and Rousseau. The columns in and 
around the building number 250. The summit commands one of 
the finest views to be obtained of the city and suburbs to the 
south and east. 

** Pan'-the-on, The, Rome, midway between the Corso 
and Piazza Navona. In front, in the centre of the Piazza, is a 
small obelisk standing in a fountain. The hieroglyphics refer it 
to the time of Psammeticus II. Placed here, 1711. 

The Pantheon was erected by Agrippa, son-in-law of Augustus, 
B. c. 27. There has been much discussion as to the original pur- 
pose of the building, but the name Pantheon was in use as early 
as a.d. 59. In 399 it was closed as a temple by decree of Hono- 
rius, and in 608 it was consecrated as a Christian church, to 
which latter fact its preservation is doubtless due. The Pan- 
theon is the only building of Ancient Rome not now in ruins ; ex- 
cavations and removals are in progress to ascertain, if possible, 
its connection with the other ancient structures. 

In 645, Emperor Constans II. carried away the gilt bronze til- 
ing of its roof ; and Urban VIII. plundered it of 450,000 lbs. of 
bronze for the baldacchino of St. Peter's, and for cannons for St. 
Angelo ; adding, by way of compensation, the two impertinent 
campaniles, appreciatively called "asses' ears;" and finally, 
Benedict XIV. pillaged ib of the marbles lining the attic. Not- 
withstanding all of which, it is to-day one of the most pleasing 
structures of Rome. 

Originally it was approached by five steps, but the accumula- 
1& 



290 PAOL 

tion of earth has left it below the level of the pavement. The 
Portico, 110 ft. long and 44 deep, has 16 Corinthian columns, 
46 £ ft. high, of which all but 3 are ancient. 

The bronze doors are believed to be those of the original build- 
ing. The niches at the sides of the entrance were occupied by 
the statues of Augustus and Agrippa. 

The interior is "143f ft. in diani., or 190 ft. through the walls; 
157^ ft- in height." {Wood.) It is lighted only by the circular 
opening, 28 ft. in diameter, at the top of the dome. 

Within the wall, directly opp. the entrance, is the tomb of 
Victor Emanuel. 

Around the sides are 7 recesses, which formerly contained 
statues of the gods, Jupiter being in the centre ; between these 
are 8 sediculae, in which are modern altars. 

Among the artists entombed in the Pantheon are Raphael, An. 
Carracci, Taddeo Zucoaro, and Peruzzi. Raphael's tomb is be- 
hind the 3d chapel to the 1. On either side of Raphael are buried 
Carracci and Zuccaro. 

In the middle ages, on Pentecost Day, showers of white rose 
petals were dropped through the opening of the dome to represent 
the descent of the Holy Ghost. 

" Never was simplicity allied to grandeur in so fortunate harmony." — Ampere. 
" The world has nothing else like the Pantheon." — Hawthorne, 
" No, great Dome of Agrippa, thou art not Christian ! canst not, 
Strip, and replaster, and daub, and do what they will with thee, be so ! " 

— Clough. 

Paolo alle Tre Fontane (pa-o'-lo-ah'-la-tra-fon-tah'-na), 
S., Ch. of, Rome, 2 mis. beyond the Basilica of San Paolo, 
erected on the spot where St. Paul is said to have been beheaded. 
Named Tre Fontane from the springs which gushed forth where 
the head of the Apostle struck the earth in three successive 
bounds. Within the ch., in the corner to the r., is shown a 
marble column, to which St. Paul is said to have been bound. In 
the floor a valuable mosaic of the Four Seasons, from Ostia. 

* Paolo, Fuori le SVIura, S. (pa-o-lo, fu-o-ri, la-moo-rah), 
ch., Rome, nearly a mile beyond Porta S. Paolo. Constantine 
erected here a small ch. on the traditionary burial-spot of St. 
Paul. In 388, Valentinianus II. and Theodosius commenced a 
basilica in its place, which was restored and rebuilt by various 
popes, the original form and proportions being scrupulously re- 
tained, till in later centuries it was regarded as the best specimen 



PARI 291 

in Rome of the ancient basilica. Unfortunately the whole struc- 
ture, excepting the western facade and the south aisles, was, in 
1823, reduced by fire to a mass of ruins. It has since been re- 
built with great magnificence. 

** The interior, 423 ft. by 153 ft., is of extreme richness and 
beauty. The two aisles on each side are divided from the nave 
by 80 columns brought from Lake Maggiore. The triumphal 
arch separating the transept from the nave is a relic of the old 
basilica, which was spared in the conflagration ; toward the 
transept it presents a mosaic of Christ, Sts. Peter and Paul, dat- 
ing from about 440 ; toward the nave, Christ and 24 elders. Be- 
neath is the high altar, over which is a canopy or baldacchino, 
supported by four columns of Oriental alabaster, presented by 
Mahomet Ali, the malachite pedestals by Czar Nicholas. Beneath 
this altar are the remains of St. Paul, except the head, which is 
at St. John Lateran. 

Around the ch., above the columns, is a series of mosaic 
portraits of the popes, commencing with St. Peter on the r. of 
the apse. The medallions are 5 ft. in diameter. It is needless 
to say that in most cases the portraits are purely imaginative. 

" Nothing can exceed the richness of the whole edifice." — Murray. 

"Unfortunately the ancient basilica has been superseded by a modern and, in 
many respects, unsightly fabric." — Baedeker. 

" Its exterior is below contempt ; its interior is most striking and magnificent." 
— Hare. 

Paris. Principal Historic Events op the City. 

In the time of Julius Caesar, the settlement in this place was known as Lutetia. 
It was a Roman Municipium, and was the headquarters of a Roman flotilla and 
the residence of the Prefect. 

a.d. 305. The Palais des Thermes was founded by the Romans. 
360. Julian resided here, and was here proclaimed Emperor. The name of the 

city was changed to Parisii. 
3L3. Emperor Gratian defeated and slain near. 
496. The Romans expelled by Clovis. 
768. Charlemagne. 

987. Capet built the Palais de Justice. 
1108. Louis VI. founded a palace on the site of the Louvre. 
1137. Louis VII. commenced Notre Dame. 
1180. Philip II. erected a city wall. 
1250. The University founded by Robt. Sorbon. 
1364. Charles V. founded the Royal Library and the Bastille. 
1515. Francis I. greatly improved the city, commencing the Louvre and the Hotel 

de Ville. 
1547. Henry II., husband of Cath. de Medicis, killed at a tournament. His three 
sons came to the throne successively. 



292 PARI 

1559. Francis II. married Mary, Queen of Scots. 

1560. Chas. IX. commenced the Tnile.ries. St. Bartholomew's massacre. 
1574. Henry III. assassinated at St. Cloud. 

1589. Henry IV., husband of M. de Medicis. First of the Bourbons. 
1610. Henry IV. assassinated. 

Louis XIII. commenced the Palais Royal, the Luxembourg, and the Jardin 

des Plantes. 
1643 to 1715. Louis XIV. City greatly improved. The Louvre extended ; Hotel 

des Invalides and the Observatory erected. Versailles built. 
1715 to 1774. Louis XV. The Pantheon, the Pal. du Corps Legislatif, and Mint 

erected. 
1774. Louis XVI. Revolution. 
1789. Bastille demolished. 

1793. Louis XVI. and Queen Marie Antoinette beheaded. 
1804. Napoleon, Emperor, greatly improved the city, laid out new streets, erected 

bridges, fountains, and monuments ; constructed the Place du Carrousel. 
1830. Louis Philippe improved and embellished the city. 
1848. Revolution. Louis Napoleon elected President. 
1852. Coup d'etat. Louis Napoleon, Emperor, completed the Louvre, and greatly 

improved the streets, parks, and all public works. 

1870. Louis Napoleon overthrown. Republic re-established. 

1871. Communist insurrection. The Tuileries, the Hotel de Ville, and many pub- 

lic buildings burned. 

The City, lat. 48° 51', long. 2° 20' east, is located upon both 
banks of the Seine and the islands of La Cite and St. Louis; a 
much greater proportion of the city being upon the northern 
bank. Upon the n. side of the river are the Tuileries, the Lou- 
vre, the Hotel de Ville, the Madeleine, the Opera House, and the 
Arc de Triomphe. On the He de la Cite are Notre Dame and the 
Palais de Justice. On the s. bank, called the Latin Quarter, are the 
Chambre des Deputes, the University of France, the great Schools 
of Law, Medicine, and Theology, the Luxembourg Pal. , the Pal. 
des Thermes, the Jardin des Plantes, and the Hotel des Invalides. 

The city contains a population of 2,230,000, and is divided into 
22 arrondissements, each having a mayor. The government is 
administered by the Pref et of the Seine, assisted by a Municipal 
Council of 60 members. The annual receipts of the city govern- 
ment are about $25,000,000. The city walls are 22 mis. in extent, 
and have 65 gates. 

The central point of the city is Place Royal, along which 
passes the great thoroughfare of the city from s. e. to n. w. Be- 
ginning at the PI. de la Nation, at the s.e. margin of the city, 
this grand avenue, from PI. de la Nation to PI. de la Bastille, is 
called Rue du Faubourg St. Antoine ; from PI. Ba3tille to near 
Hotel de Ville it is called Hue St. Antoine ; from Hotel de Ville, 



PARI 



29a 



past the Louvre, to PI. de la Concorde, Rue de Rfooli ; from PI. 
de la Concorde to the Arc de Triomphe, Avenue des Champa 
Etysees ; and beyond the Arch, Ave. de la Grande Armee. 

Omnibus Lines : From Place Royal, omnibus lines extend to 
all parts of the city and suburbs, each line having ie correspon- 
dence" (cor-ess-pawn-dawnce) with every line whose route it 
crosses — i.e., giving- transfer tickets. Fare, including correspon- 
dence, 6 sous ; fare on the top (the Imperial), 3 sous. 

Tramways (horse-cars) : Recently, innumerable tramways have 
been constructed, principally from the suburbs and neighboring 
villages, some of them into the heart of the city. They are not 
intended, however, as a means of transit in the mid-city. 

Since the establishment of the Republic, the names of numer- 
ous streets and avenues have been changed, particularly those 
referring to the Napoleonic or Imperial periods. 



Places and Objects of Interest. 



I. Churches, which see respectively : 



Augustin, St. 
Chapelle Expiatoire. 
*Chapelle, St. 
*Denis, St. 
Etienne du Mont, St. 



Eustache, St. 

G ermain-en-Laye, St. 

Germain l'Auxerrois, St. 

♦Madeleine. 



♦Notre Dame. 
♦Pantheon. 
Roch, St. 
Sulpice, St. 



II. Galleries and Museums, which see respectively : 



Conservatoire des Arts. 
♦Ecole des Beaux Arts. 
Hotel des Invalides. 



* Jardin d'Acclimatation. 
*Jardin des Plantes. 
**Louvre. 



♦Luxembourg Gallery. 
♦Musee des Thermes. 
Panorama. 



III. Miscellaneous, which see respectively : 



Arc du Carrousel. 
♦Arc de Triomphe. 
Bastille. Place de la. 
♦Bois de Boulogne. 
Bois de Vincennes. 
Chambre des Deputes. 
Champs Elysees. 
Champ de Mars. 
Circuses. 

♦Concorde, Place de la. 
Denis, Porte St. 



Elysees, Palais de 1', 

Gobelins. 

Halles Centrales. 

H6tel de Ville. 

July Column ; see Bastille. 

Luxembourg Garden. 

Martin, Porte St. 

♦Monceau, Pare. 

Montmartre. 

Montparnasse. 

♦♦Napoleon's Tomb. 



Palais de T Industrie. 
Palais de Justice. 
Palais Royal. 
Pere Lachaise. 
Place de la Nation. 
Place des Vosges. 
Sorbonne. 

Tour de St. Jacques. 
♦Tuileries, Jardin des. 



IV. Theatres: 

Ambigu Comiqne, dramas, Boulevard 
St. Martin. 

Chatelet, comedies, Place du Chatelet. 

FranQais, drama, Place du Theatre 
Frangais. 

Gaite, lyric opera, Sq. des Arts et Me- 
tiers. 

Gymnase, comedies, Boul. Bonne-Nou- 
velle. 

Odeon, dramas, Place de VOdeon. 



Opera Bouffe, operettas, Boul. de Stras- 
bourg. 

Opera House, opera, Ave. de V Opera. 

Porte St. Martin, dramas, Boul. St, 
Martin . 

Renaissance, operettas, Boul. St. Mar- 
tin. 

Vaudeville, comedies, Boul. des Capu- 
cines. 

Vari6tes, vaudevilles, Boul. Mont 
martre. 



294 



PARI 



The different parts of the house are designated as follows : Avant Scene% boxes 
adjacent the stage ; Fauteuils, arm-chairs ; Loges de Face, boxes in front ; Loges 
de Cdte, side boxes ; Baignoires, beneath the gallery ; Amphitheatre, upper gal- 
lery. Prices range from 1 to 10 f rs. 

Cafes Chantants (kah-fay-sh6n-t&n). Open-air entertainments, concerts, bal- 
lets, operettas, and plays. A card invitingly states " Entre libre" (entrance free), 
but compensation is fully exacted on the refreshments everyone is expected to take. 
The most noted are in the Champs Elys6e : on the right, Cafe des Ambassadeura 
and Alcazar d'Ete ; left, Cafe de l'Horologe. 

Environs: St. Cloud, *St. Germain-en-Laye, *St. Denis, **Versailles, Mal- 
maison, Sevres, Fontainebleau, which see. 



Eeole des Beaux Arts . . 


S. 







10-4 











M. 







T. 








a 








w. 







a 







Th 









a 






F. 








a 

o" 





s. 




o" 



a 







10-4. lfr. 

10-4, lfr. (Su. 12-4; 50c.) 

1-3. 


H6tel des Invalides 

Jardin d'Acclimat 

Jardin dea Plantes 

Louvre Galleries 

Mus6e des Thermes . . . 
St. Denis 

St. Germain-en-Laye.. 


11-1. 

9-dusk, lfr. ; San., 50c. 

11-5 ; 4 in winter. 

9-5 ; winter, 11-4. 

10-4. 

11-4 ; a, on passport. 

10)£-4, 5 ; 50c. Sun. aft. ser. 

12-4 ; W., 12-3. 

10X-4, 6, lfr. ; Sun., 50c. 

12-4, 5, fee. 


Tomb of Napoleon. . . . 


12-3, 4. Closed fete days. 
12-4, 5. 




12-4. Gardens all day. 



indicates days free ; — admission fee. 



Routes : To Antwerp, 12 hrs., $8 ; $5.75 ; see Route No. 18 to Brussels, thence 
Route 16, Brussels to Antwerp. To Bale, 10 hrs., $13 ; $10. To Berlin, via 
Cologne, 24 hrs., $25 ; $18.50 ; see Routes 18 and 19 (in part) to Cologne, thence 
Route 59, Cologne to Berlin. To Berne, 12 hrs., $14; $10.30, either by Bale or 
Pontarlier. To Bordeaux, 9 hrs., $14; $10.80. To Brussels, 7 hrs., $7.25; 
$5 ; see Route 18. To Cologne, 11 hrs., $11.75 ; $9 ; see Routes (in part) 18 and 
19. ToFontainerleau, 2hrs„ $1.40; $1; see Route 39. To Geneva, via Macon, 
12 hrs., $15.25 ; $11.50 ; see Route 39 ; via Pontarlier, 15 hrs., $14 ; $10.60 ; see 
Route 38. To Lausanne, 13 hrs., $12.75 ; $9.30 ; see Route 8S. To London, via 
Calais, 10X hrs., $15; $11.25; see Route 12; via Boulogne, 10>£ hrs., $14; 
$11.50; see Route 13; via Dieppe. 16 hrs., $8.25; $6; see Route 14; via Bou- 
logne, thence by steamer, 14 hrs., $8.25; $6.25; see Route 13. To Lyons, 9 hr?., 
$12.50 ; $9.25 ; see Route 39 to Macon. To Marseilles, 13 hrs., $21 ; $16. To 
Madrid, via Bordeaux, 35 hrs., $37 ; $27. To Turin, 22 hrs., $20 ; $16.50 ; see 
Route 39, Paris to Culoz, thence Route 40, Culoz to Turin. To Vienna, via 
Munich, 35 hrs., $36 ; $27. To Versailles, see page 546. 




_iFfWM*. 



ENvniON 




Paths. 



PAKK 295 

Parks, London. — Grken Park, containing GO acres, adjoins 
St. James's Park upon the n.w. On the e. side are Stafford 
House, Bridgewater House and Spencer House. At the w. cor- 
ner of the Park, passing under the Wellington Arch, and crossing 
Piccadilly, we enter 

Hyde Park, 2i mis. w. from St. Paul's, lying between Ox- 
ford St. and the continuation of Piccadilly ; comprises 388 acres. 
The two principal entrances are at Hyde Park Corner, Piccadilly, 
and the Marble Arch, Oxford St.; respectively the s.e. and n.e. 
corners of the Park. In earlier times it was the property of the 
abbots and monks of Westminster, but on the dissolution of 
these establishments by Henry VIII. it became the property of 
the Crown. 

From May to Aug., between the hours of 11-1 and 5-7, the Park 
is thronged with the equipages of English nobility. Private car- 
riages only are admitted. At the s.e. corner of the Park, called 
Hyde Park Corner, is the Wellington Arch, erected 1828. At the 
n.e. corner is the Marble Arch. Beyond the Park, westward, 
are Kensington Gardens and Palace, to the s. of which are the 
Albert Memorial and Albert Hall, near the site of the first Crys- 
tal Palace. 

St. James's Park, comprising 91 acres, a short distance s.w. 
of Charing Cross, was originally laid out by Henry VIII. , im- 
proved by Charles II., and completed by George IV., in 1829. 
Its e. side is bordered by the Admiralty, Horse Guards, and 
Treasury; the n. by Carleton House, Marlborough House, St. 
James's Palace, and Stafford House ; the w. end by Buckingham 
Palace. In 1648 Charles I., guarded by a regiment, walked 
through this Park from St. James's Palace to the scaffold at 
Whitehall. 

Regent's Park, containing 462 acres, is located in the north- 
western part of the city. Within this Park are the Botanical 
and the Zoological Gardens. 

**Parliament Houses, London. Admission on Sat., 10-4, 
upon application at the office of the Lord Great Chamberlain, s. 
end, near the Victoria Tower. 

Edward the Confessor is said to have had here a Royal Palace, 
to which additions were made by Wm. the Conqueror and Wm. 
II. In 1163, Thomas a Becket was superintendent. On New 
Year's day, 1236, Henry III. gave a feast to 6,000 persons, when 
30,000 dishes were set. In 1299 the palace was partly destroyed 



PARL 



by fire ; restored by Richard II. In 1512 the building, with the 
exception of the Great Hall and St. Stephen's Chapel, was totally 
burned. It was partly restored by Henry VIII., but was again 
burned in 1834. The present edifice, commenced in 1840, is one 
of the most extensive Gothic structures in the world, being 
nearly 1,000 ft. in length, covering about 8 acres of ground, and 
containing 500 rooms and several courts. 

It is surmounted by three towers : the Clock tower, on the n. 
w. corner, 40 ft. sq. and 320 in height ; the Central tower, or 

spire, 300 ft. high ; and the Moyal 
or Victoria tower, at the s. w. 
corner, 75 ft. sq. and 340 high, 
being the largest square tower 
ever erected. Beneath this tower 
is a magnificent archway, 65 ft. 
high, used only by the Sovereign 
when entering to open or pro- 
rogue Parliament. 

The Norman Porch (1), at 
the head of the entrance stairs, 
with a finely sculptured central 
pillar, is intended for statues of 
the Norman kings. 

The Royal Robing Room (2) 
is decorated with frescos and 
wood carvings from the legends 
of King Arthur. 

*Royal Gallery (3), a fine 
hall of 110 feet in length by 45 in 
width, r., Meeting of Welling- 
ton and Blucher after Waterloo 
("at which place they did not 
meet." — Murray) ; 1., Death of 
Nelson at Trafalgar, frescos in water-glass, by Maclise. Statues: 
s. door, Henry V. and Elizabeth ; n. door, Alfred and Wm. I. ; 
w. door, Wm. III. and Anne ; bay window, Rich. I. and Ed. III. 
The Prince's Chamber (4), contains a marble group by Gib- 
son, Victoria supported by Justice and Mercy ; and the portraits 
of the Tudor Sovereigns. The windows display the rose, thistle, 
and shamrock. 

**House of Lords (5), 90 by 45 feet and 45 in height, called by 




Entrance 



PARL 297 

Murray " one of the richest rooms in the world." The Throne of 
the Sovereign is between the entrance doorways, and is covered 
by a gilded canopy. On the r. of it is the chair of the Pr. of 
Wales ; on the 1. , that of the Sovereign's consort. The Woolsack 
of the Lord Chancellor is in the centre, directly in front of the 
throne. 

The 434 members occupy the red leather benches. At the 
farther end, opposite the throne, is the Bar, where official com- 
munications are received from the House of Commons. Above the 
Bar is first the Reporters' gallery, and second the Visitors' gallery. 
The windows contain representations of the entire Royal line, 
from Win. the Conq. to the present time. The House is lighted 
at night by gas jets outside the window?. 

The Peers' Lobby (6) contains the coats of arms of the. six 
Royal families, Saxon, Norman, Plantagenet, Tudor, Stuart, and 
Hanoverian. To the 1. is the Peers' Robing room, with a fresco 
of Moses bringing down the Tables of the Law. 

Peers' Corridor (7), decorated with paintings, chiefly relat- 
ing to the times of Cromwell and the Stuarts. 

Central Hall (8), octagonal, 60 ft. in diam. vaulted with 
stone. In the niches at the sides of the doors and windows are 
statues of the sovereigns. 

Commons' Corridor (9), with 8 frescos. Escape of Chas. 
II. ; Capture of Alice Lisle ; Execution of Montrose ; Last Slee] 
of Argyll ; Landing of Chas. II. ; The Speaker asserting tho 
rights of Parliament ; Acquittal of the Seven Bishops j Departure 
of the Pilgrims. Beyond the Commons' Lobby is the 

**House of Commons (11), 75 by 45 ft. and 41 in height. At 
the farther end is the Speaker's Chair, above which are first the 
Reporters' gallery, and above that a gallery for ladies, with an 
iron grating in front. The ministerial seats are on the front 
bench on the Speaker's right; of the opposition, on the left. 
The members of the House, of which there are about 650, occupy 
the side galleries as well as the entire floor, leaving then more 
than a hundred and fifty members unprovided with seats. 

Returning to the Central Hall, to the r. is 

St. Stephen's Hall (12), 75 by 30 ft. and 55 ft. in height. 
Statues: 1., Hampden, Selden, Walpole, Chatham, Pitt, and Grat- 
tan ; r., Clarendon, Falkland, Somers, Mansfield, Fox, and Burke. 

Passing through St. Stephen's Porch we enter 

♦Westminster Hall (13), built, as is supposed, about 1097, 



298 PARM 

by Wra. Rufus; rebuilt and enlarged by Richard II., 1398. It 
is 290 by 68 ft. and 92 ft. in height. This hall has been the chief 
theatre of the great Law History of England. 

Here Richard II. was deposed but a year or two after he had 
rebuilt the Hall ; Cromwell, inaugurated Lord Protector, whose 
head a few years later was displayed upon a pole outside ; Sir 
William Wallace, Sir Thomas More, and Somerset condemned; 
also the Earl of Strafford, King Chas. I. being present ; and a 
few months later King Charles himself ; Lords Kilmarnock, Bal- 
merino, and Lovat, all condemned. Here Hastings was tried 
and, after seven years, acquitted ; and the Seven Bishops tried 
and acquitted. The last trial was that of Lord Melville, 1806. 
The last coronation dinner was given by Geo. IV. 

*St. Stephen's Crypt (14), the only portion of the ancient 
Palace of Westminster which escaped fire. For a long time it 
was used for a storage room and other purposes, until, by the acci- 
dental discovery of the embalmed body of the Bishop of St. 
David's, Keeper of the Privy Seal to Henry VI., the original de- 
sign of the vault was ascertained ; since then it has been care- 
fully restored, and is now used as a chapel. 

Par-me-gia'-no, II (jah-no), II Parmegianino, Fran- 
cesco Maria Mazzuoli ; 1504-1540. Although a pupil of Giulio 
Romano, he was an imitator of Correggio, yet with such a pos- 
itive originality as permits an easy recognition of his works. He 
attained his greatest success in portraiture. His figures are 
drawn with great grace, though somewhat affected, and often 
with great length of waist and neck. His draperies, imitated 
from the antique, are heavy. He was an engraver of the first 
rank. 

Principal Works : Bolog., 110 ; Borgh., III. 21 ; Cassel, 60 ; Dresd., 162-4 ; 
Nat, Gall., 33; Madrid, 332-3; Naples, 12, 13, 16, 41; Parma, 68, 192; Pitti, 
230 ; Verona, 153. 

Paul's, St., ch., Antwerp, the court of which contains a 
most remarkable representation of Mt. Calvary, with a numer- 
ous and miscellaneous collection of angels, patriarchs, prophets 
and saints. Below is the Sepulchre and Purgatory. 

Paul's, St., London; erected 1675-1710, upon the site of a 
Gothic structure which was burned down in the Great Fire of 
1666. Length, 500 ft.; breadth of body, 118 ft.; transept, 250ft.; 
height from the pavement to the top of the cross, 404 ft. ; the cost 
was about $3,500,000. Visitors are admitted on week days, ex- 



PAUL 299 

cept during service. Admission to Wellington's and Nelson's 
mons., 6d.; to the golden galleries, 6d.; the geometrical staircase 
and great bell, 6d.; clock, 2d ; ball, 1 sh. 6d. Service daily at 
8, 10, and 4 ; Sun. 10£, 3, and 7. The organ is one of the finest 
in England. 

The Interior. Entering at the w. or principal doorway, and 
passing to the r. around the cathedral: 

South Aisle : The Crimean Monument. In a side chapel, *mon. 
to the Duke of Wellington ; the sarcophagus supports a bronze 
statue of the Duke, above which is a marble canopy. Monuments 
to Capt. Barges, Bishop Middleton, Capt. Lyons, Capt. Westcott. 

South Transept : Monuments to Gen. Brock, Sir Win. Jones, 
Babington, the physician ; Admiral Lord Lyons, Gen. Abercromby, 
Sir John Moore, Capt. Hoste, Sir Astley Cooper, the surgeon; 
Gen. Gillispie. S. Door : Capt. Miller, Marquis Cornwallis, Capt. 
Hardinge. Monument to Lord Nelson, with a statue of the Ad- 
miral, and inscription of his most important naval victories ; Gen. 
Packenham, Gen. Heathfield, Turner, the painter ; Admiral Col- 
lingwood, Admiral Howe, Sir Henry Lawrence, Gen. Jones, Gen. 
Ross, Col. Cadogan, John Howard, the philanthropist. 

hi the passage around the choir : Dr. Donne, the poet, Dean of 
St. Paul's, 1621-1631 ; H. H. Milman, Dean of St. Paul's ; Ch. J. 
Blomfield, Bishop of London ; Bishop Heber. 

North Transept : Dr. Sam. Johnson, Gen. Le Marchant, Hal- 
lam, the historian ; Admiral Napier, Capt. Riou, Capt. Mosse, 
Gen. Ponsonby, Sir C. J. Napier, Gen. Skerret, Gen. Gore, Ad- 
miral Dundas, Gen. Hay, Gen. Napier, Admiral St. Vincent, Gen. 
Picton, Admiral Rodney, Admiral Malcolm, Gov. Elphinstone, 
Col. Myers, Gen. Houghton, Sir Joshua Reynolds, Lords Wm. 
and Fred. Melbourne. 

K. Aisle: Gen. Torrens; panel mon. to the 77th Regiment; 
Crimean Cavalry mon. ; mon. in relief to the 57th Regiment; 
Mbiming Chapel, near the w. entrance. 

The Dome is decorated by 8 paintings by Thornhill, represent- 
ing events in the life of Christ. Ascent to the Whispering Gal- 
lery, Great Bell, and Clock is made from a passage in the S. 
Aisle, near the S. Transept. 

The Crypt : Entrance in the S. Transept, contains the tombs of 
Nelson, Wellington, and other English heroes, and numerous me- 
morial slabs in the pavement. In front of the cathedral is a 
statue of Queen Anne. 



300 



PERE 



Pdre-Lachaise, named from a Jesuit father, confessor of 
Louis XIV., who resided where the chapel now stands. Laid out 
as a cemetery, 1804. Present number of monuments about 20,- 
000. In 1814, the high grounds of the cemetery were the scene 

of a fierce struggle between the 
French and Russians ; and, in 
1871, of many of the atrocities 
of the Commune. 

Among the localities most vis- 
ited are the tomb of Abelard (d. 
1142), and Heloise (d. 1163) ; 
and the grave of Marshal Ney, 
the latter unmarked by either 
monument or stone. 

Perugino, Pietro (pee-a'- 
tro per-oo-gee'-no), Vannucci, 
Italy, 1446-1524, b. at Citta 
della Pieve ; pupil of Francesca 
and Verrocchio; master of Raph- 
ael ; the founder of the Umbrian 
School ; was characterized by 
simplicity and devotion ; figures 
few, but in bold relief and of 
brilliant color. He painted first 




Resurrection — Perugino. 



in Perugia, and afterward in Florence, where the peculiar lim- 
pidity of his color and the striking beauty of his landscapes gave 
him a great reputation. Going to Rome, he painted three pic- 
tures in the Sistine Chapel, afterward destroyed to give place to 
Angelo's Last Judgment. 

Returning to Florence in 1504, he found himself in the presence 
of the new School of da Vinci, Angelo, and Raphael. Perugino 
did not, however, yield to the new influences of the Renaissance, 
but continued to execute, to the end of his life, the same com- 
positions, and in the same tender, semi -melancholy tone. 

" He is often tame and conventional, and his upturned heads, a favorite feature 
in his pictures, are ill foreshortened, and freqiiently out of drawing." — Kugler. 

"His figures are mystic children — or, if you please, adult souls, kept infantile 
by the schooling of the cloister. None of them regard each other ; none of them 
act, each being absorbed in his own contemplation. All look as if dreaming of 
God ; each remains fixed, and seems to withhold the breath for fear of disturb- 
ing the vision within. The angels especially, with their downcast eyes and bended 
brows, are true adorers, prostrate, steadfast, and motionless." — Taine. 

Principal Wobks: Alb. Villa, an Adoration and others ; Bel v., three; Berlin, 



PERE 



301 




302 



PETE 



146 ; Bolog., 19 ; Borgh., I. 34, 48 ; Bruss., 334 ; Doria, II. 80 ; Flor. Acad., I. 53. 

5-6-8, II. 18; Frank., 39; Liecht., II. 40; Louvre, 426-7-9; Lyons, 155-6; 

Munich, 561, 590; Nat. Gall., 181, 288. 1075; Perugia, 2, 23-7-8, 33-5, 41, 56; 

Sala del Cambio, frescos ; Pitti, 42, 164, 219 ; Sciarra, St. Sebastian ; Vat., Sist. 

Chap., Delivery of Keys to 
St. Peter ; Pina., Resurrec- 
tion, Virgin, and four Saints. 

At Caen, Fr., is a 
Marriage of the Virgin, 
the original from which 
Raphael drew his cele- 
brated Sposalizio, in 
the Brera. Compare 
Raphael. P. 328. 

** Peter's, St., 
Church, Rome. The 
approach to St. Peter's 
is through a spacious 
piazza, bounded upon 
either side by a semi- 
circular colonnade, 
surmounted by statues, 
and having in the cen- 
tre an obelisk, and on 
either side a fountain. 
The Obelisk was 
brought from Heliopo- 
listo Rome by Caligula, 
and placed in the Circus of Nero, where St. Peter's now stands. 
The shaft is a single piece of red granite, 83 ft. in length, with- 
out hieroglyphics, and is the only obelisk in Rome which has 
never been overthrown. 

The Church. Tradition assigns to St. Anacletus, a Bishop 
who had been ordained by St. Peter himself, the erection, in a. d. 
90, of a church within the site of the Circus of Nero, over the 
place where St. Peter had been entombed. In 319, Constantine 
founded a magnificent basilica in the same place, laboring with 
his own hands in the work. In 1450, decay threatening th6 
building, Nicholas V. laid the foundations of the present struc- 
ture, after the plans of Alberti and Rosselini. In 1503, Bramanti 
was appointed architect. He designed a Greek cross with a dome 
at the intersection, resting on 4 immense piers. 




Marriage of the Virgin — Perugino. 



PETE 303 

At Bramanti's death, 1514, the piers had been completed and 
the arches turned. G. Sangallo, G. da Verona, and Raphael were 
then put in charge, ail of whom died within seven years, having 
made but little progress with the building. Peruzzi, Ant. San- 
gallo, and Giulio Romano were successively appointed architects, 
but, for 25 years, little was done. In 1 546, the work was com- 
mitted to Michael Angelo, then in his 72d year, with unlimited 
authority to alter or rebuild, as he chose. On the death of An- 
gelo, 1564, the drum had been completed. In 1590, the dome 
was finished under the supervision of G-iacomo della Porta, to 
whom we are indebted for its present proportions, Angelo's de- 
sign being much lower and heavier. The church was dedicated 
1626 ; the colonnade added 1667 ; the sacristy, 1776 ; occupying 
in its entire erection 176 years. 

The dimensions of St. Peter's are variously given. Length : 
Piale, 600 ft. ; Hare and Murray, 613£ ; Baedeker, 639 ; Wood, 
619. Height to top of the cross : Baedeker, 435 ; Murray, 448 ; 
Wood, 453. Interior diam. of dome: Wood, 141; Piale, "about 
140" ; Murray, 139 ; Baedeker, 138. The cost of its erection is 
said to have been $50,000,000, an amount so great that the Popes 
were induced to resort to the sale of indulgences, the scandal of 
which was the immediate cause of the Reformation. 

The Faqade^ 373 ft. in length, 154 in height, is of three stories 
and an attic. The columns are about 9 ft. in diam. and 93 ft. in 
height. Upon the attic are statues of Christ and the Apostles, 
19 ft. high. Liibke regards the facade as an " insufferable, 
meanly arranged monstrosity of decoration. " 

The Vestibule is 235 ft. by 42 and 66| in height. It has, at the 
extreme r., an equestrian statue of Constantine, and on the 1., 
one of Charlemagne. Over the middle entrance is Giotto's cele- 
brated mosaic La Navicella, or Peter walking on the Sea, 1298. 
The door on the extreme r., called the Porta Santa, is opened 
only once in twenty-five years, on the recurrence of the Year of 
Jubilee. It has not, however, been opened since 1825. 

**The Interior. 

"In spite of all the criticisms of architects, the interior is worthy of the most 
majestic temple of the Christian world. The one great defect is the apparent 
want of magnitude." — Murray. 

" One of the noblest and most wonderful works of man." — Eaton. 

" St. Peters surpasses all powers of description." — Jfendelssohn. 

" Nothing upon the earth can be compared to St. Peter's." — Fontana. 



304 PETE 

" But thou of temples old and altars new 
Standest alone, with nothing like to thee." — Byron. 

" The temple is an image of infinitude ; there are no bounds for the sentiments 
to which it gives birth." — Mad. de Stael. 

"When the visitor has passed into the interior, and so far recovered from the 
first rush of tumultuous sensations which crowd npon him, he will be struck 
with, and, if not forewarned, disappointed at, the apparent want of magnitude. 1 ' 
— Hillard. 

" The exterior and interior appear to me more like an apotheosis of the pope- 
dom than a glorification of Christianity." — Frederika Bremer. 

The Coronation Stone (1). In the pavement immediately 
beyond the central door is a circular slab of porphyry, upon which 
emperors were formerly crowned. Beyond this, a mark in the 
pavement indicates the comparative lengths of the other great 
cathedrals, thus : St. Peter's, 613 ft. ; St. Paul's, 520 ; Florence, 
489 ; Milan, 443 ; St. Sophia, 354 ft. 

The Nave. On either side are three double pillars, supporting 
the great gilded arch. The height of the nave is 153 ft.; width, 
89 ft. Upon the frieze is an inscription in Latin, the mosaic let- 
ters of which are 4 f b. 10 in. in height (Murray, 6 fb.). Upon the 
fourth pillar to the r. (2) is the celebrated bronze statue of St. 
Peter, said to have been cast from a statue of Jupiter, and be- 
lieved to date from the 5th century. 

The Dome rests on four massive piers, each of which is 234 ft. 
in circumference. In the piers are niches with statues 16 ft. in 
height, overhung with balconies. The four great relics of St. 
Peter's — the Lance of Longinus, the Head of St. Andrew, a Piece 
of the True Cross, and the Napkin of St. Veronica — are kept 
within the walls of these piers. 

The Bal-dac-chi'-no (-kee-) (5), beneath the Dome, covering 
the High Altar and the reputed tomb of St. Peter, is a bronze 
canopy, 95^ ft. in height, and weighing about 58 tons. It is 
supported by 4 twisted columns of bronze, the metal of which 
was taken from the Pantheon. 

" It is difficult to imagine on what ground, or for what purpose, this costly 
fabric was placed here. It has neither beauty nor grandeur, and resembles nothing 
so much as a colossal four-post bedstead without curtains." — Hillard. 

" Bernini displays all the errors, the decorative madness, of the baroque style 
in the colossal bronze tabernacle over the high altar." — Liibke. 

The High Altar, beneath, is used only on great occasions, 
and none but the Pope himself, or a Cardinal specially author- 
ized, may officiate. Descent is made to the confessio, or shrine of 
St. Peter, by a double flight of steps. At the foot is a statue of 



PETE 



305 



Pius VI., by Canova. The tomb of the Apostle is direcrfy behind 
the bronze doors. The 89 burning lamps are never extinguished. 




The Tribune, or termination of the Nave, contains, above the 
high altar, the famous chair of St. Peter, alleged to have been 
his episcopal seat. It is enclosed in bronze and supported by 



306 PETE 

four fathers of the church — Augustine, Ambrose, Chrysostom, 
and Athanasius. r., (8) tomb of Urban VIII. ; 1., (9) **tomb ot 
Paul III. , by della Porta, one of the finest monuments in the ch. 
Prudence and Justice are said to be portraits of the pope's mother 
and sister. 

" St. Peter's is a world of art, but the specimens, with a few exceptions, are by 
no means of the first class.'" — Hillard. 

" Those who expect to find monuments of great historical interest will be totally 
disappointed." — Rare. 

" The sepulchral monuments, with the exception of those of recent date, are, 
for the most part, scarcely worthy of St. Peter's as works of art."— Murray. 

From the Tribune, proceeding to the left around the church : 

(10) r., Tomb of Alex. VIII., by Martino ; (11) 1., on the great 
pier, Mosaic of the Healing of the Paralytic by Peter and John ; 
(12) r., Altar of Leo I., above which is Attila's Retreat, one of the 
best bas-reliefs ever executed in marble ; (13) the Sarcophagus 
beneath the altar contains the remains of Leo II. , III. , and IV. 
The sarcophagus, with high-reliefs of Christ and the Apostles, is 
of early Christian times. 

South Aisle; (14) r., mon. of Alexander VII. , by Bernini; 
figures of Justice, Prudence, Chastity, and Truth, the last being 
the work of Bernini ; (15) 1. , Punishment of Simon Magus, an 
oil painting on slate, by Fr. Vanni. 

The South Transept has confessionals in eleven languages. 
(16) r., The Incredulity of Thomas, mosaic; (17) front, the tomb 
of Palestrina, the composer ; above the central altar is a mosaic 
of Guido's Crucifixion of St. Peter; (18) 1., St. Francis, by Do- 
menichino. 

South Aisle; (19) r., door leading to the Sacristy, above 
which is a mon. to Pius VIII., the last erected in the church. 
Best point of view of the dome and transepts. (20) 1. , Death of 
Ananias and Sapphira, after Roncalli. 

(21) Capella Clementina; (22) r., tomb of Gregory the Great, 
below the altar ; (23) in front, *monument of Pius VII., by Thor- 
waldsen ; (24) 1. , on the great pier is a mosaic copy of Raphael's 
Transfiguration, covering four times the space of the original ; 
(25) r. , beneath the arch, mon. of Leo. XL, with relief of Henry 
IV. of France recanting Protestantism ; figures of Wisdom and 
Abundance ; (26) 1., tomb of Innocent XI., with relief of Sobieski 
delivering Vienna. 

(27) r., Capello del Coro, or Choir (Sunday, *musical services; 
ladies admitted only with black dress and veil; gentlemen in 



PETE 307 

evening dress) ; (28) 1., *tomb of Innocent VIII., bronze, by A. 
and P. Pollajuolo ; opposite is the tomb of the last pope, whos«» 
remains rest here till the death of his successor. 

(29) Chapel of t7ie Presentation ; over the altar, the Presenta- 
tion, by Komanelli ; (30) r., door leading to the Dome ; above is 
the mon. of Maria Clementine Sobieski, wife of Charles Edward, 
the Young Pretender ; (31) tomb of the Stuarts, James III. and 
his sons, Charles Edward and Henry. 

(32) Baptismal Chapel, the font of which consists of a sar- 
cophagus cover from the tomb of Hadrian ; afterward of the tomb 
of Otho II. Crossing to the 

North Aisle ; (33) St. Peter, mosaic, over the Jubilee door, 
placed by Clement X., 1675 ; (34) Capella della Pietd, so named 
from M. Angelo's *Pieta, executed in his 24th year. At the r. 
end of the chapel is the Capella della Colonna Santa, containing a 
white marble column, against which Christ leaned when disputing 
with the Doctors, enclosed in an iron network ; at the 1. end is 
the Capella del Crocifisso. 

(35) Beneath the arch, r., mon. of Leo. XII.; (36) 1., Cenotaph 
and bronze portrait of Christina, dau. of Gus. Adolphus ; (37) 
St. Sebastian, after Domenichino ; (38) under the 2d arch, r. , 
tomb of Innocent XII., the last pope who wore a beard ; 1., (39) 
Countess Matilda. 

(40) Chapel of the Holy Sacrament ; tabernacle of bronze and 
lapis lazuli ; altar-piece in fresco, by da Cortona. A stone in the 
pavement marks the tomb of Julius II., who commissioned M. 
Angelo for the erection of the splendid mausoleum, of which the 
"Moses" and " Captives" were to be a part. At the r. (41) is 
the tomb of Sixtus IV., bronze, of whom Hare remarks, " Sixtus 
IV. , with whose cordial concurrence the assassination of Lorenzo 
de' Medici was attempted." (42) beneath the 3d arch, r., tomb of 
Gregory XIII. , whose adoption of the new or Gregorian Calendar 
(1582) is commemorated in the bas-reliefs. (43) 1., tomb of Greg- 
ory XIV. (44) on the great pier, Communion of St. Jerome, 
mosaic, after Domenichino. 

(45) Gregorian Chapel ; To the r., (46) *mon. of Gregory XVI. 
Over the altar, (47) *Madonna del Soccorso, from the old ch. of 
St. Peter ; beneath the altar, tomb of Gregory XV. , cupola with 
mosaics. (48) beneath the great arch, r. , tomb of Benedict XIV. T 
statue of the pope, with Charity and Science. 

(49) 1., Chapel of St. Basil. 



308 PETE 

(50) NORTH Transept, occupied by the Ecumenical Council 
of 1870 after which, it was closed for 10 years. Beneath the 
arch, beyond the Transept, r., (51) **tomb of Clement XIII., by 
Canova, one of the finest mons. in the ch. (52) 1., on the great 
pier, Peter Walking on the Sea, mosaic, after Lanfranco. Chapel 
of tlie Archangel Michael. (53) r. , The Archangel, mosaic, after 
Guido ; front, (54) the Burial of St. Petronella, mosaic, after 
G-uercino ; (55) beneath the arch, r., tomb of Clement X. ; 1., 
Raising of Tabitha, mosaic, after Costanzi. 

*The Sacristy — most desirable hours, 9-11 ; entrance at (19) 
south aisle — consists of three magnificently decorated halls and 
several rooms. In the halls, statues of Peter and Paul are from 
the old basilicas ; the 8 fluted columns are from Hadrian's Villa. 
Guide necessary for the remaining rooms, -£ fr. Madonna, by G. 
Romano ; Christ, Death of Peter, and Execution of Paul, all by 
Giotto ; robe worn by Charlemagne at his coronation, 800. 

The Crypt. Permit obtained at the Sacristy (19). The Grotte 
Vaticane contain the tombs of many of the popes and a few sar- 
cophagi of interest. 

The Dome. Permit obtained at the Sacristy (19). Ascent on 
Th. , 8-10 a.m. Upon the walls are tablets with the names of 
royal personages who have made the ascent. Upon reaching the 
roof the visitor unexpectedly arrives at a small village, the 
dwellings of some of the custodians. Above this point the stairs 
wind up between the inner and outer domes to the lantern. A 
ladder leads from the lantern to the ball, which has room within 
for 16 persons. The *view from the top of the dome is the best 
to be obtained in Rome. 

Petersburg, St., is situated principally upon the south 
bank of the Ne-va, near its entrance to the Gulf of Finland. 
The central point of the city is the Admiralty, upon the banks 
of the Neva, in the midst of a small park. It is surmounted by 
a tall and exceedingly slim gilt spire, which is a conspicuous ob- 
ject upon approaching the city from almost every direction. 
From the Admiralty, the leading avenues of the city radiate in 
various directions ; of these the principal is the Nev-ski Prospekt, a 
broad, well-paved, busy street, lined with the buildings and shops 
of a modern European capital. Immediately adjacent to the Ad- 
miralty is the Imperial Palace, on the e., and St. Isaac's on the s. w. 

The principal places of interest are : The Imperial or Winter 
Palace, the Hermitage, St. Isaac's Cathedral, the Kazan Cathe- 



PETE 300 

draJ, the Cathedral of SS. Peter and Paul, the Smolnoi Church, 
the Academy of Science, the House of Peter the Great, the Mu- 
seum of State Carriages ; and, in the environs, Tsarkoe Selo, and 
Peterhof. 

The public or Imperial buildings are so extensive, and the va- 
rious collections so immense, that nothing less than several 
weeks will suffice for a satisfactory inspection. Besides, so few 
persons understand anything of either English or French, that a 
guide is absolutely indispensable to any excursion or enterprise 
in St. Petersburg. 

**The Imperial or Winter Palace, the winter residence of 
the Czar, i8 an extensive structure, 450 ft. in length and 350 in 
width, constitutiag a quadrangle. Some impression of its mag- 
nitude may be drawn from the fact that, in addition to all the 
galleries, halls, and offices pertaining to the Court of the Emperor, 
there are, during his residence in the Palace, no less than 6,000 
members of the Imperial household dwelling within its walls. 

The picture gallery of the Palace is rich in modern works illus- 
trative of the history of the Russian Empire. The crown jewels, 
which in magnitude and value far surpass those of every other 
court of Europe, will be viewed with interest. The celebrated 
Orloff diamond, the largest in the world, being 8-£ carats larger 
than the great Koh-i-noor, is mounted upon the Imperial 
sceptre. 

The Hermitage, or Art Museum. See Part II. , Hermitage. 

**St. Isaac's Cathedral, in the midst of a large open space 
on the s.w. of the Admiralty, is one of the most magnificent 
structures of the far north. It is in the form of the Greek cross, 
and is surmounted with a gilt dome and cross. The facade of 
either side presents a Greek portico, with polished monolith 
columns of granite, 60 ft. in height. The interior corresponds in 
richness and beauty to the grandeur of the exterior. The nu- 
merous shrines, covered with gold and encircled with diamonds 
and gems, the glitter of the golden altar screen, and the massive 
columns of malachite and lapis lazuli, united with the gravity of 
the Russian service, with which the great bell frequently intones, 
serve to render this the most impressive temple of devotion in 
the world. 

With three days of every seven, religious holidays, and with 
frequently occurring services in commemoration of coronations, 
births, weddings, and deaths in the extensive Imperial Family, 



310 PETE 

together with fetes extra and an occasional marriage ceremony, 
the visitor will not want for opportunities of witnessing the 
highly impressive service and ceremonial. Evening service most 
interesting, though less usual. 

*The Ka-zan' Cathedral is situated upon the Nevski Pros- 
pekt, and is approached by a circular colonnade, in imitation of 
St. Peter's at Rome. In front are fine statues of Smolenskoi and 
de Tolly. The interior corresponds in its magnificence and dis- 
play to St. Isaac's. The special object of interest is the image of 
" Our Lady of Kazan," which is covered with gems, the diamonds 
of the crown being of exceeding value. Around the cathedral 
are banners of important victories won by Russian arms. 

**The Cathedral op Sts. Peter and Paul, upon the north 
bank of the Neva, and within the walls of the fortress, contains 
the remains of all the Czars, with the exception of one, from the 
time of Peter the G-t. to the present. They are deposited in 
white marble sarcophagi, about 3 ft. in height and width and ten 
in length, placed upon the main floor of the church, along the 
sides and near the altar. The sarcophagus of Peter the Great is 
at the upper end, at the right, on which is affixed, at each suc- 
cessive centennial of his birth, a small golden star. 

The Smol-noi Church, at the eastern extremity of the city, 
is peculiarly rich in its effects, the entire structure and all its 
decorations, even to its 24 monumental-looking stoves, being of 
the purest white. In connection with this church is a celebrated 
seminary for young ladies of noble birth. The institution is de- 
signed for 500 pupils, of which 200 are educated at the expense 
of the government. 

**The Museum op Science is one of the most extensive and 
most valuable collections of natural history extant, and will of 
itself require several days for a fair examination. 

The Museum of Imperial Carriages contains a collection of 
state carriages, sledges, sedan chairs, and some fine tapestries. 

♦House op Peter. Across the Neva, and upon its northern 
bank, is the small house occupied by Peter the G-t. It contains 
three small rooms, one of which is consecrated as a chapel and 
covered with gold. 

Environs. — The two most important localities to visit, outside 
the city, are Tsarkoe Selo and Peterhof . 

**Tsar-koe Selo, reached by rail in about 30 minutes, was 
built by Catharine II. for a summer palace. Adjacent to Tsarkoa 



PHID 311 

Selo are the grounds and palaces of Archduke Constantiue and 
other members of the Imperial Family. The variety and beauty 
of the grounds, as well as the value of the various collections in 
the palaces, render this excursion one of exceeding interest and 
pleasure. 

*Peterhof, also about half an hour's ride by rail, was erected 
by Peter as a suburban residence. Among the innumerable ob- 
jects of interest in the place are 368 portraits of Russian ladies. 
The gardens and fountains are reputed as scarcely inferior to 
those of Versailles, especially upon the evenings of the illumina- 
tions. Adjacent are also the cottage of Catharine II. , the Palais 
de Paille, and the English G-arden. 

Routes: To Berlin, 44 hrs., $30; $23. To Moscow, 15 hrs., $17; $12. To 
Stockholm, by steamer direct, about 2 days ; or along the north margin of the 
Gulf of Finland, stopping at several Finland cities, 3 days, about $10. This 
last is one of the most charming and romantic routes in Europe. 

Phid'-i-as, a Greek sculptor, about B.C. 490-432. 

' ' He seems to have belonged to a family of artists, and to have first turned his 
attention toward painting. He was the pupil of Ageladas, and probably of He- 
gias ; and his great abilities were developed in executing or superintending the 
woi'ks of art with which Athens was adorned during the administration of Peri- 
cles."— Smith. 

Among his most noted works were Jupiter, of which an antique 
copy is in the Vatican ; Athena at Platsea ; and Athena of the 
Acropolis. Until recently the marbles of the Parthenon have, 
without question, been attributed to Phidias, but later writers 
state that the connection of Phidias with these works is a matter 
of uncertainty. 

Philip II., of Spain, son of Emp. Ch. V., b. 1527. Married 
Mary, Queen of Eng. u A bigot and a despot whose reign was an 
inexorable crusade against political and religious freedom.'' He 
crushed the Reformation in Spain, exterminated the Spanish 
Moors, removed the capital to Madrid and built the Escorial. 
He attempted the subjugation of the Netherlands, England, and 
France, in all of which he failed. Died 1598. 

Physicians. American physicians are referred to when per- 
manently residing in the place; in other cases, English-speaking 
residents. 

Aix-la-Chapelle, Dr. Hall ; Dr. Schuster. I Bordeaux, Dr. Breen, 21 Pave des Char- 
Amsterdam, Dr. Davids, Heerengraeht \ irons. 

Str., 237. j Boulogne, Drs. F. H. Walker, and J. 

Baden, Dr. Herman Muller. Harvey. 

Bale, Dr. Jung. Brussels, Dr. Collignon, 54 RuedeStas- 

Berlin, Dr. Oppert, Leipziger Str., 128. | sart; Dr. Thomson, 14 Rue d' Egmont. 
Berne, Dr. Demme. Bonn. Dr. Burger. ! Cologne, Dr. Sticker, II. Casino Str. 4 



312 



PICP 



Dieppe, Dr. D. W. Williams. 
Dresden, Dr. Cams, Luttichau Str.; 

Dr. Pierson, Racknitz Str., 10. 
Florence, Dr. Forrest, 27 Via Lungi 

Allemani. 
FranJcfort, Dr. Bresgen, Hoch Str., 37. 
Geneva, Dr. Wilkinson, 1 PL du Lac. 
Genoa, Dr. Breiting. 
Hamburg, Dr. Oppert. 
Hague, Dr. Coster, Plaats, 14. 
Havre, Dr. Tarral. 
Homburg, Dr. Lewis. 
Lausanne, Dr. Joel. 
Lucerne, Dr. Steeger ; Dr. Nager, JSTa- 

pell Plate, V78. 
Milan, Dr. Walker ; Dr. Capelli. 



Munich, Dr. Ranke. 

Naples, Dr. Wyatt, Pa?. CalabrMo, 

Strada Caterina ft Chiaja. 
Nice, Dr. Guerney ; Dr. Crossby. 
Ostend, Dr. Saulniann, 2?owZ. dw Nord. 
Paris, Dr. Johnson, 10 i?<wZ. Males- 

herbes. 
Petersburg, Dr. Carrick. 
Rome, Dr. Gason, 8 Via Sebastino ; Dr 

Aitkin, 52 ViaFrattina. 
Rotterdam, Dr. Maury. 
Turin, Dr. Pacchiotti. 
Venice, Dr. Levi ; Dr. Richitti. 
Fepoy, Dr. Leeson, 4 Quaide le Veveyse. 
Vienna, Dr. Biegel, Lichtenstein Str. 12. 
Wtes&adew, Dr. Conn, Rhein Str., 13, 



Picpus, Cemetery (pic-pu), 15 Rue de Picpus, Paris, (£ fr.). 
Lafayette and his wife are here interred, in the farther corner on 
the right. Here also are buried many victims of the Revolution. 
At the farther end is the ' ' Cimetiere des Guillotines," where rest 
1,300 who were executed. 

*Pietro, S., in Vincoli (pe-a'-tro-in-vin'-co-ly ; Peter in 
Chains), liome. Built, 442, to preserve the chains with which 
Peter was bound ; repaired and rebuilt in 555 ; in the 8th cen- 
tury ; in 1503 and 1705. The principal objects of interest are the 
celebrated **statue of Moses, by Angelo (see Moses) ; and r. aisle 
near the upper end ; r. Leah, 1. Rachel, both by Angelo. The 
chains of Peter are kept in the Sacristy, or sometimes in a glass 
cabinet about midway of the r. aisle. Exhibited on the first of 
August. The twenty Doric columns are from the baths of Titus. 

Pinacoteca (pee'-nah-ko-ta'-cah). See Part II., Vatican 
Picture Gallery. P. 478. 

Pinakothek (-take). See Part II. Pinakothek, Munich. 

*Pincian Hill (pin'-chee-an), Borne. From thee, side of the 
Piazza del Popolo ascent is made by terraces up the steep side of 
the Pincian, reaching a small park laid out in walks and gardens. 
This is the fashionable resort for two hours prior to sunset every 
day, but particularly on Sundays. The terraces command a fine 
view of the city and St. Peter's. In the centre of the grounds 
is the Obelisk of the Pincian. See Obelisks. 

Pinturicchio (-rick'-ke-o ; little painter), Bernardino de 
Biagio; b. at Perugia, 1454 ; d. at Siena, 1513. His most noted 
works are in the ch. of S. M. del Popolo, Rome ; in the cath. at 
Spello, and in the library of the cath. , Siena. Was the assistant 
of Perugino in the Sist. Chap. , Rome. His later works are of less 
merit. 

Piombo, Fra Sebastian del (pee-om'-bo), Luciani, 1485- 



PISA 313 

1547, b. Venice ; pupil of Gio. Bellini and Giorgione. He was 
wanting in design, but was one of the first Italian masters in 
coloring and portraiture, and after the death of Raphael was called 
the best painter in Rome. His later works show an especial pre- 
ference for long hands and ringers, and for a violet coloring. 
" The Portrait of And. Doria, in the Doria Palace, is by some regarded as the 
finest portrait in the world." 

Pisa (pee'-zah), Italy ; situated in the midst of a plain on 
both sides of the Arno, 50 mis. from Florence and 6 from the sea. 
Although it was a town of note in Roman times, it now possesses 
but little of historic interest. From 1000 to 1300, Pisa was the 
most important and powerful maritime town of Italy. The de- 
feat of Meloria, near Leghorn, 1283, terminated its political su- 
premacy. 

In art, Pisa has the honor of being the home of Nicolo Pisano, 
1250, who was the first to abandon the Byzantine. In his pur- 
suit of more natural methods, he was the precursor of the Renais- 
sance and modern art. Here also were the homes of Giotto and 
Andrea Pisano, whose influence was scarcely less than that of 
Nicolo. The chief interest of Pisa centres in the four buildings, 
the Cathedral, the Campanile, the Baptistery, and the Campo 
Santo, grouped together in the Piazza del Duomo, in the n.w. 
part of the city. Carriages may be obtained at the station for 
the trip, say 2 or 3 hours, at reasonable rates. 

*Tiie Cathedral, 1063, 312 ft. by 105, built of white marble 
with black and colored ornamentation, is a basilica, in Tuscan 
style, with a facade of 4 galleries. *The door opposite the Cam- 
panile, at which entrance is usually made, is the only one of the 
ancient bronze doors preserved. It presents 24 sculptured illus- 
trations, and is of peculiar interest as a specimen of mediaeval art. 

The Interior possesses 68 columns captured in war, and the 
chandelier whose motion suggested to Galileo the idea of the pen- 
dulum. The pulpit is the work of Nicolo Pisano. On the pillar 
at the intersection of the Nave and s. Transept is *St. Agnes, by 
del Sarto ; opp. a Madonna, by del Vaga. Over the high altar is 
a Crucifixion, by Bologna. 

The Choir contains two angels, in bronze, r. and 1. by Bologna ; 
the Christ, in the niche, " is the last and greatest work of Cima- 
bue." The mosaics of the dome are also by him. The facade of 
the Cathedral is toward the baptistery. 

*The Campanile (cam'-pah-nee'-lay), Bell Tower, or, as it 



314 PISA 

is usually designated, the Leaning Tower, 1174, is of 8 stories, 
each having a colonnade, and is 179 ft. in height, and departs 13 
ft. from the perpendicular. The cause of the inclination has 
long been discussed, and "the spongy nature of the ground'* 
generally assigned. But from the fact that leaning towers are 
frequent in central Italy : that no other buildings, of similar 
weight and height, even when standing near, meet with like acci- 
dents ; that the short towers possess a greater degree of inclina- 
tion than the taller and more exposed ones, and that none of them 
ever possesses sufficient want of perpendicularity to endanger 
stability, or ever go on to the point of danger, it would appear 
that there is too much uniformity in conditions for mere acci- 
dental results. 

The ascent (50c.) of 294 steps, gives a commanding view. 
There are 7 bells, the heaviest weighing 6 tons. 

The Baptistery, 1153, is a circular marble building, 100 ft. 
in diam. and 190 in height, and of great architectural beauty. 
Within is the Baptismal Font, and the celebrated ** Pulpit of 
Nicolo Pisano, 1260. On the sides are the reliefs which for 7 
centuries have been the subjects of uninterrupted admiration. 1, 
The Annunciation and Nativity ; 2, Adoration of the Magi ; 3, 
The Presentation ; 4, The Crucifixion ; 5, The Last Judgment. 
In the comers are the Apostles. 

" In the Birth of Christ, the Madonna rests on her pillow with the dignity and 
conscious magnificence of a Juno ; and in the Adoration of the Magi she has the 
air of an empress on her throne, receiving the meet tribute of subject-princes. 
These are conscientious and most impressive studies from the antique, which is 
revealed line by line in the treatment of the figures. And we still find motives 
among the Boman Sarcophagi of the Campo Santo, which afforded a model to the 
great regenerator of sculpture. In the treatment of the nude, which prevails in 
his Last Judgment, he displays a wealth of resource, united with a complete 
knowledge of form, unknown to antiquity." — Lubke. 

The Echo of the Baptistery, when fortunately heard, is never 
to be forgotten. 

**The Campo Santo. Upon the final retreat of the Crusaders 
from the Holy Land in 1200, they brought 53 ship loads of earth 
from Mt. Calvary for this cemetery. The enclosure, commenced 
1278, is decorated upon the inner face of the walls by frescos 
of the earliest Tuscan school. Entrance upon the s. side. To 
the 1. round the colonade. 

8. Wall : The w. half of the s. wall contains no paintings of 
note. Among the sculptures, *mon. to And. Vacca, by Thorwald* 



PISA 



315 



ft \^ ik %mM 






>is&4£ 



f2ti , ;- t 






^^v^«^i§ 











31.6 PISA 

sen ; V. , Christian sarcoph. of 2d or 3d cent, with relief of the Good 
Shepherd ; XL. , Roman sarcoph. with Rape of Proserpine. 

W. Wall : 45, Virgin and Child, by G. Pisano ; stat. of Gio. 
Pisano, by Salvini; on the wall, Chains of the harbor of Pisa 
captured by the Genoese, 1632, restored to the Pisans, 1848 ; 
XII. , XIII. , Rom. sarcoph. with Etruscan urns. 

JV. Wall : Paintings — Creation, Man, The Fall, Expulsion from 
Paradise, Cain and Abel, The Ark, Deluge, Noah's Sacrifice ; also 
the following, by Gozzoli : Noah's Vintage, Curse of Ham, Babel, 
Hist, of Abraham, Isaac, Jacob, Esau, Joseph, Moses, Aaron, 
Fall of Jericho, David, Solomon, Queen of Sheba. The tomb of 
Gozzoli is below the History of Joseph. 

Sculptures — 57, Greek relief from a tomb ; 78, Greek head. 
XIX., XX., sarcoph. with Bacchanalian scenes; XXI., sarcoph. 
from which it is said Nic. Pisano copied figures for his pulpit ; 
several sarcophagi with mythological reliefs. 

E. Wall: Paintings — Ascension, Thomas, Resurrection, Cru- 
cifixion. Sculptures — mon. of Count Mastiani, by Bartolini; 
mon. of Greg. XIII.; mon. to Angelica Catalani the songstress; 
Nic. Pisano, by Salvini. 

**S. Wall, e. end ; **Triumph of Death, representing the van- 
ity of Pleasure, the tranquillity of a Religious Life, Death, the 
Resurrection, Souls taken to Heaven, and to Purgatory. 

" Queens, kings, popes, and archbishops, with their ministers and their crowns, 
lie in heaps, and their souls, in the shape of nude infants, issue from their bodies 
to take their place in the terrible eternity. Some are welcomed by angels, but the 
greater number are seized by demons, hideous and base figures, with bodies of 
goats and toads — a grotesque pack, gambolling and capering around their quarry 
— a singular mingling of dramatic passion, morbid philosophy, accurate observa- 
tion, awkward triviality, and picturesque impotence." — Taine. 

The Triumph of Death and the Last Judgment, as well as Hell, 
have generally been attributed to And. Orcagna, but it is now 
believed that they and the Temptation and Miracles of the The- 
ban Hermits are by P. and A. Lorenzetti, 1340 ? 

Pisano, Nicolo (pee-sah'-no), Italy ; 1206-1278, b. at Pisa; 
one of the greatest of the early architects and sculptors ; exe- 
cuted the celebrated pulpit of the Baptistery at Pisa, 1260, and a 
pulpit for the Duomo at Siena, 1266. 

" He gave the death-blow to Byzantinism and barbarism, established new prin- 
ciples of architecture, and holds the same relation to Italian art which Dante 
does to Italian literature." 

"The antique spirit has continued to be the inalienable inheritance of Italian 
art ever since the days of Nicolo Pisano." — Liibke. 



PITT 317 

Pitti Gallery. See Part II., Pitti. P. 512. 

Place de la Nation (plas' deh-lah-nah'-see-ofi), formerly 
called Place du Trone, at the e. end of the city, a mile beyond 
PI. de la Bastille. In 1660, on the conclusion of peace with 
Spain, Louis XIV. here erected a throne from which he received 
the homage of the citizens, whence the former name. Bronze 
statues of Louis IX. and Philippe le Bel surmount two lofty 
Boric columns. 

Place des Vosges (plahs'-day'-vozhe'), formerly Place 
Royale, Rue Turenne, near PI. de la Bastille. In this square, 
then the court of the Palais des Tournelles, occurred the tourna- 
ment in which Henry II. lost his life, 1565. After this event 
Catherine, his wife, demolished the Palace and erected the pres- 
ent buildings around the square. No. 9 is noted as once the 
residence of Victor Hugo, and No. 21 as that of Richelieu. In 
the centre is a marble equestrian stafc. of Louis XIII. 

Pompeii (pom-pe'-i-I, commonly pronounced in Italy pom- 
pay' -e), 15 mis. from Naples; may be reached by carriage, or, 
better, by rly. There are usually 4 trains daily; time 50 m.; 
fare 2 f r. ; admission 2 f r. , which also pays for the guide ; gratu- 
ities forbidden : Sundays, free. In summer, on account of the 
oppressive heat of midday in the shadeless streets, it is particu- 
larly recommended to make the visit in the early morning or 
toward evening. 

As a guide accompanies the visitor, and as he takes his own 
route, any detailed description of the numberless objects and lo- 
calities of interest is rendered unnecessary. About 70 acres, com- 
prising ^ of the space within the walls, has been excavated up 
to the present time. It is imbedded in ashes to the depth of 
20 ft. 

Principal Objects of Interest are the * Amphitheatre, with 35 
rows of seats ; the Theatre ; the Forum ; three Triumphal 
Arches ; Temples of Venus, Mercury, Jupiter, Augustus, and 
Neptune ; the Barracks, in which were 63 skeletons ; Houses of 
Diomed, Meleager, Sallust, Pansa, the Fullonica, the villa of 
Cicero, and two museums. 

Its Destruction. At the time of its overthrow, Pompeii had 
a pop. of about 30,000. In the year a.d. 63 an earthquake 
destroyed the Basilica, Forum, the temples, and many private 
dwellings. These were scarcely rebuilt, when, in a.d. 79, the 
first known eruption of Vesuvius took place, burying the entire 



318 POMP 

city in ashes and cinders, mixed with boiling water. The first 
shower of ashes, which fell to the depth of 3 ft., caused the in- 
habitants to flee for safety. Upon its cessation it is supposed 
many returned to secure their valuables, when there fell a shower 
of red hot ashes and rapilli to the depth of 7 or 8 ft., followed by 
others, till the city was buried to the depth of 20 ft. Pliny the 
Younger describes the catastrophe as follows : 

" It was already seven o'clock in the morning, and yet there was to be seen but 
a faint light like that of twilight. The buildings were shaken by such heavy 
shocks that there was safety nowhere. We resolved to abandon the city. Ar- 
rived without the city, we paused. The sea seemed to be turned back upon itself 
and to retreat. Over against us a black and awful cloud, crinkled with darting, 
wavy fires, opened and showed us great flames like thunder-bolts. Almost in an 
instant the cloud fell to earth, covering the sea. The ashes began to fall upon us. 
Turning my head, I perceived behind a dense smoke, which was following us and 
spreading itself over the ground like a torrent. While we could still see, I advised 
my mother to leave the principal road, lest the crowd which was following upon 
our steps should crush us in the darkness Hardly had we left it, when the dark- 
ness so increased that we seemed to be, not as involved in a black, moonless night, 
but as shut in a chamber where every light had been extinguished. There was 
nothing to be heard but the lamenting of women, the wails of children, and the 
shouts of men. One was calling a father, another a son, another a wife ; people 
could recognize one another only by the voice. Many besought aid of the gods ; 
others fancied that they no longer lived, and believed this to be the last and eter- 
nal night, when the world was to disappear into its grave." 

The number of skeletons thus far exhumed is about 500. 

Pompey, the Great, Rom.; b. B.C. 106. General of great 
ability and success. Was honored with a triumph in 81 : consul 
with Crassus B.C. 70. The Senate refusing to sanction some 
of his acts while in command in Asia, he united with Caesar 
and Crassus, forming the First Triumvirate. Married Julia, the 
dau. of Caesar ; in 55, was consul a second time with Crassus ; in 
52, was sole consul. Enmity having arisen between Pompey and 
Caesar, the latter who was in Gaul, at once marched upon Rome ; 
whereupon Pompey fled t o Macedonia. Caesar following, a deci- 
sive battle was fought at Pharsalia. Pompey being defeated fled 
to Egypt, but was murdered as he was about landing, B.C. 48. 

Pom-pey, Theatre of, Rome; built by Pompey, repaired 
by Tiberius, Caligula, and Theodoric ; and in the Middle Ages was 
converted into a stronghold. The site it occupied was between 
the present chs. of S. And. della Valle and San Carlo a Catinari. 
Here, 1864, was discovered the bronze Hercules, now in the Vati- 
can. Near by was the Curia in which Caesar was assassinated. 

Pon -te St. Angela, the Pons yElius of the Romans, now 



POPO 319 

called the Bridge of St. Angelo, built by Hadrian, a.d. 136, as 
a passage to his tomb, remains now nearly as left by him. In 
the Middle Ages booths occupied both the sides, but in 1450, a 
crowd having caused the death of 200 persons on the bridge, the 
booths were removed. The statues of Peter and Paul were 
placed at the extremity in 1530 ; and the 10 angels and the para- 
pet in 1668. 

Pop'-o-lo, S. M. del, ch., in Pi. del Popolo, Rome; said to 
have been erected upon the place where the ashes of Nero were 
discovered and cast to the winds. Right aisle: 1st and 3d chapels, 
and the ceiling of the choir, fine paintings by Pinturicchio. Be- 
low are several monumental works by Sansovino. Upon the high 
altar is a miracle-working Virgin, which stayed the plague of 
1578. Chapel to the 1. has An. Carracci's Assumption. Chigi 
Chapel, 1. aisle, planned by Raphael. The group of Jonah and 
Whale was modelled by him. 

Pordenone(por -day-no -nay), Cio. Ant. Licinio Regillo 
da., 1483-1539, b. at Pordenone ; painted figures with great ex- 
cellence ; attained a delicate softness of flesh rarely surpassed 
by Titian. His composition was simple, coloring excellent. 
Many works in the galleries attributed to him are unauthenti- 
cated. The S. Lorenzo Guistiniani, in the Acad., Venice, is one 
of his best. 

" He is not inferior even to Titian in the softness and warmth of his coloring, 
especially in his flesh tints." — Licbke. 

Principal "Works : Borgh.., X. 9? ; Doria, II. 18; Dresd., 252; Hamp. Ct., 71, 
92, 102, 104; Hermit., 116, 117?, 118?; Madrid, 341; Munich, 482; Pitti, 52; 
Uff., 616? 

Por-ta Maggiore (mad- jo' -ray), Rome; a gateway in the 
wall on the eastern side of the city. Of interest especially as af- 
fording the best view of the structure of the ancient aqueducts, 
which here are built into and upon the city wall. See Aqueducts, 
Rome, Aqua Claudia, and Anio Novus. 

Potter, Paul, 1625-1654, b. Enkhuizen, Hoi. He studied 
with his father, who was an indifferent painter, yet his progress 
was such that at 15 years of age he was an accomplished artist. 
Going to The Hague, he was met with great favor by the Prince 
of Orange. He removed to Amsterdam in 1652. Kugler con- 
siders " that of the masters who have striven pre-eminently after 
truth, he is beyond all question, one of the greatest that ever 
lived," His industry mu^t have been extreme, as, living only to 
the age of 29, he left 103 pictures. His masterpieces are the 



320 



POTT 



Young Bull at The Hague, valued at $25,000 ; and the Dairy 
Farm at St. Petersburg. 

"The Young Ball approaches the nearest to deception of any really fine work 
of art I have seen. The painter seems to have omitted nothing that he saw in 

nature which art could rep- 




Young Bull — Potter. 



resent, and yet its reality is 
free from any still-life un- 
pleasantness. It is admired 
for its truth, but to a culti- 
vated eye it has that some- 
thing more than mere truth 
that is indispensable to a 
work of art ; it has great 
taste throughout, displayed 
no less in the generalarrange- 
ment of the masses and forms 
than in the most minute par- 
ticulars." — Leslie, B. A. 

This picture was car- 
ried by the French to 
Paris, and regarded by 

them as the fourth in value of those then in their collections, 

the Transfiguration, the Last Communion, and Titian's Peter 

Martyr, only surpassing it. The Dutch offered 60,000 florins for 

its return. The Grosvenor Grail. (No. 42), 

has a similar subject by Potter, which 

Kugler prefers to the Young Bull. 
Principal Works : Amst. Hoop., 90-1 ; Berlin, 

872A; Borgh., XII. 22; Cassel, 525-6-7; Darm., 

395?; Dresd., 1420; Hague, 111, 113; Hermit., 

1051-5-6-7-9; Louvre, 399, 400, 68S-9; Munich, 

1103; Nat. Gall., 849; Rijks, 305-7-8-9; Turin, 

377 ; Vienna, Ghud., 266. 

Pottery. The most extensive and val- 
uable collections of ancient pottery are 
in the Museums of Naples and the Vati- 
can. They consist of vases, urns, and 
cups, evidently intended for festive occa- 
sions, bridal gifts, prizes, and similar pur- 
poses — not for common use. They were 
found in tombs in Greece, Sicily, South- 
ern and Central Italy, and date from the 
6th to the 3d century B. c. As the decora- 
tions relate to the dress, customs, and mythology of the Greeks, 
the workmanship is believed to be that of Greek artists, even of 




POTT 



321 




fchose specimens found in Etruria. During the Roman period, 
this branch of decorative art seems to have been extinct in Italy. 
Nothing of it has been found in Pompeii or Herculaneum. Of 
this early fictile art, there are recognized four distinct styles. 

1. The Phoenician, usually 
called the Egyptian, probably 
of Corinthian workmanship ; of 
a yellowish or pale red, painted 
in black or brown, with occa* 
sional touches of white or pur- 
ple, with horizontal bands of 
stripes filled in with flowers or 
animals. The figures and ani- 
mals are stiff, angular, and life- 
less, and the garments hang in 
long regular folds. 

2. The Early Greek and 

Etruscan ; deep red ground with decorations in black. The fig- 
ures retain much of the stiffness of the former style, but the 
forms of the vases are more varied and the distribution of orna- 
ment more significant. The figures in general correspond to the 
early Greek statuary. The leading type is 
the female bust, which was rude among the 
Egyptians, severe with the Etruscans, and 
voluptuous among the Greeks. In the 
Early Etruscan, the figures of men are in 
red flesh-color ; of women, cream-color, 
with decided outlines of black. 

3. The Classical, of a deep black, pol- 
ished ground, with figures in red. The 
decorations are arranged in two or three dis- 
tinct rows, the figures of which, in delicacy 
of outline and expression, indicate the best 
period of Grecian art. In this, as in the 
following style, the subjects are historic 
and mythologic. The figures are separate, 
and full of expression, both as to attitude 
and gesture. The accessories are simple and symbolic ; night 
is indicated by a star ; a chamber, by a curtain ; the sea, by a 
shell or a dolphin ; the earth by an undulating row of dots. This 
style gradually passed into 
21 




322 



POTT 



4. The Decorated, u in which the noble Greek symmetry 
of the work as a whole, and its adornment, give place to an ex- 
aggerated richness that finds expression in enormous ornamental 
vessels, sometimes 5 feet in height, and in superfluity of orna- 
ment." The subjects — satyrs, youths wrestling, dancing bac- 





chantes, goddesses, veiled female dancers, toilettes, revellers, 
horses and chariots, are of the highest artistic excellence, and 
often of the most exquisite beauty. Vases were not decorated 
later than the time of Augustus. After that time, glass, gold, 
and silver were used for ornamental vessels. During the Middle 
Ages the Potter's Art seems to have been lost. 

Majolica (ma-yol'-i-ca), [Faience, Fayence, Maffaelle, delta 
Robbia, Gubbio, Palissy, and Limoges ware]. About the middle 
of the 12th cent, a soft, coarse enamelled pottery of the Moors 
was introduced into Italy from the island of Majorca, thence the 
term Majolica. In the 15th century, establishments for the 
manufacture of similar wares were erected in various cities of 
Italy, of which those at Pesaro and Gubbio were the earliest. 

Fayence, Faience (fi-ofis), derived, as stated by some, from 
Faenza, Italy, and by others from Fayence, France, comprises 
various species of glazed earthen and porcelain wares. 

Italian Faience. In the loth century an establishment for 
the manufacture of pottery was erected at Pesaro, to which a 
patent was granted l ' for the application of gold to Italian 
faience. " At a later date the Pesaro ware was executed in relief. 

Gubbio Ware. In 1511, Master Giorgio of Gubbio succeeded in 
adding to the Pesaro ware the color and splendor of the ruby. 



POTT 323 

These wares are usually without relief, in deep blue and yellow, 
with a strong metallic lustre. 

Raffaelle Ware (raf-fay-el'). The works at Urbino, Italy, pro- 
duced excellent majolicas under the direction of Ciarla and della. 
colle Raffaelle. These names having- been confounded with that 
of the great painter, the Raffaelle wares for a long pericd pos- 
sessed an exaggerated value from the supposed connection of 
that artist with their manufacture. 

Delia JRobbia Ware. The Italian faience attained its greatest 
perfection in Florence under Lucca della Robbia (1400-1481). 
He gave it a brilliancy of coloring, an effectiveness of relief, and 
a hardness of enamel which had hitherto been unattained. He 
was the most noted artist of these wares, and is often mentioned 
as the inventor of majolica. 

" Services of this ware were deemed suitable presents for crowned heads, and 
the Italian porcelain, as it was called for a time, monopolized the admiration of 
Europe. 1 ' 

French Fayence or Faience : Palissy, Limoges. About 
the time that the manufacture of majolica was beginning to de- 
cline in Italy, it was attracting attention in France. 

Palissy (pah-lee-se'). In 1555, after 16 years of experiment, 
Bernard Palissy of Saintes, France, attained the highest success 
in color and relief. His dishes are covered with leaves, shells, 
fish, and reptiles, and ore especially celebrated for the high relief 
of the figures, fidelity of tint, and the accuracy of the modelling. 
The great beauty and perfection of his work brought him the 
most distinguished patronage, but as no one of his successors 
could attain the excellence he had gained, his art perished with 
him. Not more than 37 pieces of his work are now known to 
exist. All the copies of his work are quite inferior both as to 
design and execution. 

Limoges (lim-ozh'). This term is applied to a fine enameHed 
ware which was perfected at Limoges, France, in the 15th cent. 
The enamel is laid upon a ground of gold or copper. One of the 
most noted masters of this art was Limousin, from whom the 
French wares of that period were called Limousins. This art 
flourished from the time of Francis I. to that of Louis XIV. 
The most celebrated specimens of this work, and the largest ever 
executed, 5 ft. in length, are in the Musee de Cluny, Paris. The 
color is usually black with various tints upon a white ground. 
During the reign of Louis XIV. French faience assumed an e\- 



324 POUS 

aggerated style, with sometimes fantastic designs. Services 
were made, of which each piece was given the shape of the 
article it was designed to contain, embracing all vegetable and 
animal forms. 

Poussin, Nicholas (poo-san), 1594-1665, b. at Andelys, 
Normandy ; went to Rome, 1624. Studied under Sacchi and 
Domenichino, but took his style from the works of Raphael ; was 
an ardent student of the antique. He spent the most of his life 
in Rome where he had married . As a painter he possessed more 
industry than imagination. His early works are labored and 
wanting in freshness ; his later exhibit a more luxuriant fancy. 
Among his most important works is the Seven Sacraments, of 
which he painted two series, both now in England. His master- 
piece is the Bacchanalian Dance, in the Nat. GalL , London. The 
Louvre has nearly 40 of his works. 

" The manner of Poussin is heartless and profitless." — Ruskin.^ 
Principal Works: Barb., 86; Belv., one; Berlin, 467, 47SA ; Cassel, 280; 
Corsi., IX. 6; Dresd., 648; Dal., 27!), 291, 295, 300,305,310,315,336; Edin., 
354; Hamp. Ct., 380; Hermit., 1394, 1398, 1400, 1413, 1414; Liecht., VIII. 637; 
Liver. Inst., 126, 126B ? ; Louvre, 415-16-17, 421, 426, 433-4-6-7, 440-3-5-6-7-8-9, 
451-53 ; Montpellier, Mus. Fabre, several ; Madrid, 2043, 2051 ; Munich, 408, 
417; Nat. Gall., 40, 42, 62 ; Vat., 1. 

Poussin, Caspar (poo-san), Dughet, 1613-1675, pupil of 
N. Poussin. His real name was Dughet, but he adopted the 
name of his brother-in-law, who was likewise his teacher. He 
devoted himself principally to landscapes. His dark back- 
grounds give his pictures a peculiarly sombre cast. 

Pozzuoli (pot'-zu-o'-ly), Italy, 6 mis. to the w. of Naples, on 
the Gulf of Pozzuoli. Town itself of no interest. At the w. end 
is the Temple of Serapis (fee 1£ £*..)• The Statue of Jupiter Se- 
rapis in the Museum Naples was found here. To the w. of this 
ruin is that of the Temple of Neptune and the Temple of the 
Nymphs (both partly submerged), from which several sculptures 
have been recovered. 

The AmpJritheatre, the most perfect and interesting of these 
ruins, is on an eminence outside of the town. Here Nero himself 
entered the arena, and St. Januarius was thrown unharmed to the 
beasts. A short distance from the Amphitheatre is Solfatara 
(sol f ah-tah'-rah) (£ f r. ), a half extinct crater, from which smoke 
and sulphurous gas yet issue. It is not known to have erupted 
for the last 7 centuries. Two mis. or so to the w. is Lake Aver- 
nus, Virgil's entrance to the Infernal Regions. 



PRAG 



325 



Prague, Prag (prahg), the ancient capital of Bohemia, is 
delightfully situated upon both banks of the Moldau, and has a 
population of nearly 165,000. It possesses a far greater interest 
in its history than in its art. With this city are associated the 
names of Huss and Jerome, Wallenstein, Tycho Brahe, and Em- 
peror Sigismund. A mile to the w. occurred the memorable bat- 
tle of Prague, 1620, in which Protestantism was conclusively over- 
thrown in Bohemia. 

* Principal Places of Interest are the Rathhaus, where after the 
Battle of Prague, 27 Protestant leaders were executed, as also 
eleven officers of his own army, by command of Wallenstein, 
1633; the Teynkirche, with the tomb of Tycho Brahe; the 
Hradschin or Capitol ; the Cathedral, the Mausoleum of the 
Bohemian kings ; the Burg or Imperial 
Palace, Wallenstein's Palace, and the 
National Museum. 

Boutes : To Dbesden, 5 hrs.; $3.25 ; $2.30. To 
Vienna, 8 hrs.; $6.75 ; $5. 

Prax-it'-e-Ies, a Greek sculptor, 
born at Athens, about 392 B.C. Nothing 
is known of his history personally, ex- 
cept that he was a citizen of Athens. 
He is believed to have wrought above 
fifty works, among which are Venus of 
Knidos ; Eros, of the Vatican ; Saurok- 
tonos ; and the Faun of the Capitol. 
See Venus; Faun; Eros; and Apollo. 

" There is no doubt that the soft harmonious 
charm of all this masters works is aided by a pe- 
culiar delicately softened method of handling, full 
of tender grace, which brought out in its highest 
perfection the glow and polish of the Greek mar- 
ble. . . . The quiet of a soft dreamy mood, 
exalted into a gentle enthusiasm, was the real at- 
mosphere of his art." — Lilbke. 

Psyche (si'-kee), Myth of ; a beau- 
tiful maiden beloved by Cupid, in consequence of which Venus per- 
secuted Psyche and imprisoned Cupid. Cupid, however, escaped 
and prevailed upon Jupiter to interfere in behalf of Psyche, anij 
their nuptials were celebrated in the palace of Jupiter on Olympus. 

Cupid and Psyche, Painting, **a series by Raphael in the 
Villa Farnesina, Rome. See Farnesina. 

Statues: Capuan Psyche, Naples, 117 ; Louvre, 371 ; Cap., VI. 53. 




Psyche, Capuan — Naples. 



326 QUEE 

Queenstown, on the s.w. coast of Ireland, first landing 
place of Atlantic steamers, 12 mis. dist. from Cork, of which it 
is the port ; formerly called the Cove of Cork, but given its pres- 
ent name in honor of the visit of Victoria in 1849, who here dis- 
embarked. Passengers and mail usually landed by tug. The 
land-locked harbor is defended by two forts at the entrance, and 
is one of the most commodious and best protected in the world. 
The city, which has a population of about 11,000, has little of 
interest. Passage to Cork may be made by rly. or boat. 

Quir'-i-nal Palace, Piazza del Quirinale, formerly di Monte 
Cavallo, Borne. The residence of the King and Crown Prince. 
Prior to 1870, it was the summer residence of the popes and the 
seat of the later conclaves of Cardinals. Upon the election of a 
new pope, the announcement was made from the balcony fronting 
the Piazza. Napoleon I., Francis I. of Austria, and Francis I. of 
Naples have occupied apartments here. Pius VII. died here, 1823. 
In the absence of the royal family the apartments are shown to 
visitors. 

In the 5th, 8th, and 9th rooms are Gobelins ; 10th, Mosaics 
from Hadrian's Villa; 14th room, *Flight of Pius IX., 1848, 
Overbeck; 17th, *St. Peter, BapJiael ; *Paul, Fra Bartohmmeo ; 
19th (Audience Chamber), *Triumphal Procession of Alexander 
the Great, by Thoi'waldsen, ordered by Napoleon I. In the Chapel, 

* Annunciation, by Guido. In the Sala del Consistorio, *Madon- 
na, with SS. Peter, Paul, and Cardinals. No fee, but attendant 
should be given a gratuity. In front are the groups of the 

* * Horse Tamers. See Castor and Pollux. 

Raffaelle Ware. See Pottery. 

Raphael Santi, Raphaello Sanzio, 1483-1520, born at 
Urbino, Italy. The greatest of modern painters. He commenced 
his studies with his father, Giovanni Santi, but upon his death, 
1494, went to Perugia and became the pupil of Perugino. This 
portion of his life is called the Umbrian, or Peruginesque Period ; 
and his style the Peruginesque, being a mere imitation of Peru- 
gino' s. The most important of his works during this period are 
the Coronation of the Virgin, now in the Vatican, and the Sposa- 
lizio, or Marriage of the Virgin, in the Brera. 

Going to Florence, in 1504, he studied the works of Masaccio, 
Angelo, da Vinci, and Fra Bartolommeo ; from which he was led 
to abandon his previous style, adopting what is called his second, 
•r Florentine style. Among the works of this period are the En- 



RAPH 



32? 



tombment, Borghese Gall. No. 38; Mad. del Baldacchino; and 
Mad. del Granduca, in the Pitti ; St. Catherine, in the Nat. Gall. 

In 1508, Raphael 
was invited to Rome 
by Julius II., to dec- 
orate the Vatican ; 
and in the twelve suc- 
ceeding years he pro- 
duced the works 
which have placed 
him at the head of 
the great masters of 
Modern Painting. He 
here abandoned his 
Florentine style, and 
entered upon one 
more fully his own, 
happily combining 
the highest excellence 
in composition, de- 
sign, expression, and 
coloring, undoubted- Raphael. 

ly influenced by the antique with which he now came in contact. 
Among the principal works of this period, are, frescos, Cupid 
and Psyche, 12 pictures; and Galatea, 
in Villa Farnesina ; The Loggie, Helio- 
dorus, Constantine, Borgo, Bolsena, St. 
Peter, School of Athens, in the Vatican ; 
in oil, St. Michael and the Dragon, Holy 
Family, and the Belle Jardiniere, in the 
Louvre ; the Sistine, Dresden ; Mad. 
della Sedia, in the Pitti ; and the Trans- 
figuration, in the Vatican, his last work, 
and usually considered as the first mas- 
terpiece of Modern Painting. 

He died at the early age of 37, and 
was honored with a magnificent fu- 
neral ; and, in accordance with his 
wish, entombed in the Pantheon, Rome. 

"As compared with his great predecessors, da Vinci and Angelo, his distin- 
guishing excellence may be summed np as that of an harmonious beauty of ex- 





Michael — Louvre. 



328 



RAPH 



pression, color and form ; neither so thorough in execution and modelling as tht 
first, nor so original, powerful, and subjective, as the second." — Kugler. 




Sposalizio — Milan. (See p. 302). 



Principal Works : Berlin, Mus. , Madon. of the Golonna Family ; Madon. of 
the Duke of Newland. 

Blenheim, coll, of Marlborough, Madon. Ansidei. Cowper coll. Niccolini 
Madon. 

Bologna, Acad. Art, St. Cecilia. 

Dresden Gall., Sistine Madonna. 

Florence, Pitti Gall., Julius II.; Madon. del Baldacchino; Madon. del Gran- 
duca ; Ag. Doni and Wife; the Vision of Ezekiel ; Leo X.; Madon. della Sedia. 
Ufflzi, Madon. of the Goldfinch ; Julius II. 

Geneva, Reviliod coll.. Madon. of the Goldfinch. 

"London, Nat. Gall.. The Chevalier's Dream ; the .Aldobrandini Madon. St. 
Catherine. Dudley coll., Three Graces ; Crucifixion. Ellesmere coll., Bridge- 
water Madon. 

Madrid, Mus., Madon. del Pesce : Holy Family; the Visitation ; Card. Bibiena. 

Milan, Brora., The Sposalizio. Naples, Mus., Holy Family. 

Munich, Pina., Madonnas della Tenda, della Tempi, and Canigiani. 

Paris, Due d'Aumale coll. Orleans Madon. Louvre, La Belle Jardiniere; 
Madon. of the Veil ; Holy Family of Fr. I.; Holy Fam.; John Bap.; St. Margaret; 



REMB 



329 




St. Michael ; St. George ; St. Michael and the Dragon ; Bait. Castiglione ; Portrait 
of a young man ; Jeanne of Aragon ; Portraits. 

Perugia, Con. S. Severo, The Trinity. 

Rome, Vatican, Pina., Coronation of the Virgin ; Predella ; Three Virtues ; 
Transfiguration ; Madon. del Folignio. Stanze, Disputation ; School of Athens; 
Parnassus ; Jurisprudence ; 
Heliodorus ; Mass of Bolse- 
na ; Vision of Attila ; St. 
Peter delivered ; Incendio 
del Borgo. Ch. of S. Augus- 
tine, Isaiah. Ch. of 8. 3f. 
della Pace, Sibyls. Far- 
nesina, Galatea. Ripolda 
Collection, Madonna of 
the King of Naples. Doria 
Palace, Portraits of Nava- 
gero and Beazano. Sciarra 
Palace, The Violinist. Bor- 
ghese Palace, Entombment. 
Barberini Palace, Forna- 
rina. 

St. Petersburg, Her- 
mit, St. George ; and 4 Ma- 
donnas. 

Vienna, Bel., Madon. aux 
Herbes. Entombment — Borghese Gallery. 

RAPHAEL'S CARTOONS. See Cartoons of Raphael. 
RAPHAEL'S HOURS (so called). See Ebitrs, RaphaeVs. 
RAPHAEL'S LOGGIE. See Loggie of Raphael. 
RAPHAEL'S MADONNAS. Sec Madonnas, RaphaeVs. 
RAPHAEL'S SIBYLS. See Pace, Ch. of S. M. della. 
RAPHAEL'S STANZE. See Stanze of Raphael. 
RAPHAEL'S TOMB. See Pantheon. 
RAPHAEL'S TRANSFIGURATION. See Transfiguration. 

Rembrandt van Ryn, Rhyn, Run (rin), 1607-1669, b. at 
Leyden, Hoi. One of the most celebrated painters of the Dutch 
School, and one of the first masters of light, shade, and color. 
At the age of twenty-two, he established himself at Amsterdam. 
Here he received many commissions for portraits from distin- 
guished personages. Discarding the mythological and religious, 
he chose his themes from actual life, and hence his works are en- 
tirely materialistic, frequently wanting in poetic or artistic taste. 
His works number over 600 and command the highest price. The 
Christ Blessing little Children, in the Nat. Gall. , was purchased 
for $35,000. His masterpieces are the Night Watch, at Amster- 
dam, and the Anatomical Lecture, at the Hague. 

" His pictures carry one completely away with their weird charm and their 
mysterious poetic force. . . . There is, however, no trace of the ideal sense 



330 



RENI 




Anatomical Lecture — Rembrandt. 



of form that marks the Italians, but rather an art full of intrinsic truth ; master* 
ful strength and skill compensating one for the lack of beauty by sharply defined 
characterization, life-like individuality, warmth of sentiment, and .picturesque 

charm." — Liibke. 

Principal Works : 
Amst., Hoop., 95 ; Ant., 
293,294?, 295?; Augs- 
burg, 547; Berlin, 802- 
5-6, 806A, 808-10-18-23- 
28A ; Brera, 446; Bruns., 
eight ; Brass. , 277 ; Cas- 
sel, seventeen; Darm., 
347, S48; Dresd., 1214- 
16-17-19, 1220-3-5-8, 
1232; Dul., 179, 189, 
206, 282; Frank., 144; 
Hermit., *792, **797, 
and twenty-nine others ; 
Hague, 114-5-0-7-8; 
Liecht., 172-3-4; Lou- 
vre, 404-7-8-9-10-12-13- 
14-15-16-17-18-19, 690 ; Dutch Sch., 96, 98 ; Madrid, 1544 ; Munich. 196, 323, 329, 
337, 343, 847-8-9, 850-1-2, 860, 882, 1299 ; Nat. Gall., 43, 45, 54, 72, 190, 221, 243, 
672, 775, 850, 289?, 757; Pesth, XIV. 643; Pitti, 16, 60; Rijks, 348, 349; Turin, 
430; TJffi., 922, 979. 

Rent, Guido. See Guido. 

Reynolds, Sir Joshua, 1723-1792, b. at Plympton. His 
distaste for study and his love of drawing- was early manifest, 
to the great displeasure of his father, who rebuked these tenden- 
cies by inscribing on the back of one of his drawings, ' ' Done by 
Joshua, out of pure idleness." 

When he was eight years old he made a drawing of Plympton 
school so very accurate that his father did himself and his son 
justice by saying, "This is wonderful." At the age of 18 he 
went to London, and commenced study under Hudson, the most 
distinguished portrait painter of the time, where he remained 
two years. In 1743 he returned to Plympton, where he passed 
three years to little advantage painting portraits. 

Resolved to visit Rome, in 1749 he embarked for Italy, visit- 
ing on the way, Gibraltar, Algiers, and other localities, reaching 
his destination after a voyage of six months. He remained in 
various parts of Italy nearly three years, visiting all the most 
noted collections of art, and diligently making studies of the 
great masters. 

Returning to England he was elected the first President of the 
Royal Acad, of Gt. Britain, which had just been inaugurated. 



RIAL 831 

the king conferring upon him the honor of knighthood. He re- 
mained president of the Academy for twenty-one years, and died 
1792, and was entombed in St. Paul's Cathedral. 

Principal Works : Dul., 143, 146, 254, 285, 340 ; Edinb., 12, 29, 30, 49 ; Green- 
wich Hosp., portraits; Hermit, 1S90-1-2 ; Kensing. Port. Gall., five; Nat Gall., 
78, 79, 106, 107, 111, 162, 306-7, 754, S85-7-8-9, 891. 

Rialto, Ponte di (pon'-ta-dee ree-ahl'-to), a foot bridge 
over the Grand Canal, Venice, a single arch of 74 ft. span, 32 in 
height, resting on 12,000 piles ; built 1588. 

Ribera, Josef de (yo-sef-da-ree-bay'-rah), II Spagno- 
Letto, 1588-1656, b. at Cativa, Spain ; d. at Naples. Going to 
Rome when young and living in poverty, he studied the works of 
Caravaggio, Raphael, and the Carracci. Afterward he went to 
Parma and Modena and studied Correggio. Returning to Naples, 
he was appointed court painter. His anatomical subjects were 
painful and depicted with a horrible reality; such as the Flaying of 
St. Bartholomew, Ixion on the Wheel, Cato of Utica. His works 
are numerous and are to be found in all the larger collections. 

Principal Works : Augsburg, 372 ; Berlin, 403 ; Borgh., VI. 10 ; Cassel, 263; 
Corsi., VIII. 25; Dresd., 608-10-12-13-15-18-19; Frank., 52; Hermit., 330-1-2- 
3-4 ; Louvre, 548-9, 550, 32 ; Madrid, 956-9. 903, 977-8, 932-3-9, 998, 1006-11-12, 
and others, in all, fifty-eight; Munich, 354, 363, 381-5-6 ; Naples, Saladi Correg., 
12, 13, 14, Sala Grande, 59 ; Pesth, 707 ; Pitti, 19 ; Turin, 397 ; Uffi., 1104 ; Vat., 
Martyrdom of St. Lawrence. 

** Rigi Kulm, The, Switz. (ree'-ghe'-koolm', g hard), 5,905 
ft.; from its height and isolation, commands a view extraordi- 
nary both as to extent, covering an area of upward 7,000 sq. mis., 
and as to richness, having on the one hand a waste of Alpine pin- 
nacles, and on the other the fertile vales of Lucerne and Zurich, 
dotted with lakes and villages, and luxuriant with vegetation. 

The mountain is a mass of conglomerate, descending toward 
the s., whose marked stratification on the sides gave it the name 
Rigi, i.e., strata. On the northern and western sides it descends 
abruptly, and, in some places precipitously. It is covered with 
verdure to the very summit, the Kulm itself being a fine smooth 
grass-plat. 

Until 1815 the mountain appears to have attracted but little 
attention. In 1816 a small lodging-house was erected on the 
Kulm; in 1848, the present hotel was commenced, and since the 
opening of the Rigi railway the number of visitors has exceeded 
50,000 annually. In the height of the season, rooms for the 
night should be engaged in advance. 



332 RIJK 

The sunset and sunrise are the specialties of a night on the 
Rigi. Such is the uncertainty of weather, however, on the sum- 
mit, that the visitor may well fortify himself against too sanguine 
anticipations. Immediately before and after sunrise the atmos- 
phere is peculiarly clear ; a half hour later the rising mist short- 
ens the vision. Should the mist rise opposite the sun, the specta- 
tor may have the pleasure of seeing his own shadow, surrounded 
with a halo, projected in magnificent proportions on the vapory 
screen. 

**The View. Directly to the w., at the extremity of the 
lake, is Lucerne ; on the 1. is Pilatus and the Alpnacher See ; 
to the r. is the bay of Kiissnacht and the Zuger See, whose 
shores are lined with villages. To the n. e., in the foreground, 
the Rossberg, the track of whose memorable slide of Goldau 
is plainly traceable — the village of Goldau being directly at the 
foot of the Rigi ; the Egeri See, behind and to the r. of the 
Rossberg, on whose shore was fought the battle of Morgarten, 
1315, and also against the French, 1798 ; between the Rossberg 
and the Rigi the small lake of Lowerz ; to the s., a portion of 
the lake of Lucerne. Of the hundreds of peaks which present 
themselves to the spectator on the summit of Mt. Rigi, but few 
can be recognized or distinguished, except to a familiar eye, es- 
pecially if there chances to be any degree of cloud or mist. 

The Mountain Peaks. Beginning with Pilatus, to the 1. of 
Lucerne and just beyond the western end of the lake ; to the 1. 
is the small lake of Sarnen, between which and the Rigi rises 
in the foreground the Biirgenstock, 3,740 ft.; behind the Bur- 
genstock, to the 1. of Samen, is the Stanzerhorn, 5,847 ft.; over 
the 1. portion of the Stanzerhorn rise, in the horizon, the three 
peaks of the Jungfrau, 12,828; the Eiger, 12,240; and the 
Monch, 12,609. Following the line of peaks to the 1. of the 
Monch a short distance, the last of these high points in the hori- 
zon is the Finsteraarhorn, 13,160. Then follow 1., in the fore- 
ground, the Buochserhorn, 5,570 ; and the Speiss, directly behind 
the third and last glimpse of lake Lucerne. In the rear of these 
in the horizon is a multitude of less important peaks. Over the 
southern peaks of the Rigi rise highest in the horizon, the Bris- 
tenstock, 9,464 ; the Great Windgelle, 9,818 ; the Schreckhorn, 
10,147; and To-di, 11,158. See Route 24, Note 5. 

Rijks Museum. See Part II., Amsterdam, Rijks. P. 417. 

Robbia, del la, Ware. See Pottery. 



ROB 333 

Rob Roy {Robert the Bed), Robert Macgregor, b. 1660, 
was a cattle trader, and on account of the Macgregor Clan's being 
outlawed by the Scottish Parliament, he assumed the name of 
Campbell. Being deprived of his estates by the Duke of Mon- 
trose, Rob Roy made a war of reprisals upon the Duke's prop* 
erty, and although an English garrison was stationed at Invers- 
naid, Rob Roy's home, he continued, against all their efforts, to 
levy blackmail against the Duke. Rob Roy's Cave is but a short 
distance above Inversnaid, on the e. shore of Loch Lomond. 

*Roch, St., Ch. of (rock), Paris, Rue St. Honore, 1653, in 
front of which Napoleon I. planted his cannon, 1795, to preserve 
the peace of the city. In the rear of the high altar are three 
successive chapels, containing numerous works of art. The 
music in the church is usually very fine. Marie Antoinette was 
led to execution from this church. 

Roland, Legend of Rolandseck. 

Roland, nephew of Charlemagne, in his wanderings chanced one evening to 
come to the Castle of Drachcnfels, where he was welcomed and treated with dis- 
tinction. The next morning the Knight of the Castle presented to him Hilde- 
gunde, his only daughter. Roland was enamored of her, and she soon gave him 
her heart, and a new castle was already planned. A message from Charlemagne 
directing Roland to repair at once to Spain to battle against the Saracens, over- 
threw all the plans of the lovers. Wounded in battle, the report soon came to 
Hildegunde that Roland was slain. Heartbroken, she resolved to forget her sorrow 
in the devotions of the cloister. Some months after Roland stood at the door- 
way of the castle. The father was dumb with astonishment at seeing one 
whom he had long thought dead ; and as Roland hastily asked after Hilde- 
gunde, Heribert covered his face and only after some moments was he able to say 
that she had become the Bride of Heaven. The news that his Hildegunde was 
forever lost to him fell upon his heart like a thunderbolt. Speechless he left the 
Castle. 

On the bank of the Rhine where he might overlook the convent and perchance 
sometimes see Hildegunde as she should go to and from the little chapel, he built 
his castle, Rolandseck. One morning Hildegunde did not appear, and on the fol- 
lowing day the sad procession told him her weary heart was at rest. From that 
hour Roland never spoke again, and not long after he was found cold and lifeless, 
with his half -closed eyes still turned to the spot where he last saw his beloved 
ifildegunde. 

Romano, Giulio (joo'-le-o-ro-mah'-no), Giulio Pippi de' 
Giannuzzi, 1498-1546, b. at Rome ; favorite and most noted 
of Raphael's pupils, to whom was confided many of the decora- 
tions of the Vatican ; notably Raphael's Loggie, which to a large 
extent is the work of his hand. 

Raphael having made Romano and Fr. Penni his heirs, upon his 
decease they devoted some years to the completion of his works 



334 



ROMA 



in the Vatican. Among those finished by Romano are the Sala 
di Constantino, in the niches of which are his finest frescos ; the 
Defeat of Maxentius ; the Bap. of Constantine ; Constantine giving 
Rome to the Pope ; and the Transfiguration. He also decorated 
a palace on the Janiculum with a fine series of Venus and Cupid, 




Flight of Helen — Romano. 

and Apollo and Hyacinth. At Mantua, in the Palazzo del Te he 
designed a most elaborate series of decorations, embracing an 
endless number of mythological scenes and figures, upon which 
he was engaged at the time of his death. 

His panel pieces were few and of less merit. He was admira- 
ble in design and fertile in invention, and was equally a master 
in architecture as in painting. He was appointed architect of 
St. Peter's, Rome, but died before entering upon his duties. 

Principal Works : Belv., two; Borgh., IT. 18, 29, 65; Dresd., 82; Farn., fres- 
cos; Hermit., 43, 56, 57, 80; Liverp., 80; Louvre, 291, 293; Mantna (Palazzo 
del Te) contains much of hie work ; Naples, Sala Grande, 5 ; Nat. Gall., 624, 
643?, 644?; Pitti, 57, 167; Rome (San Luca), Copy of the Galatea of Raphael ; 
Uffi., 1144 ; Vatican, Loggie, one, Sala of Const., two. 

**Roman Forum. In remote times, when the Romans oc- 
cupied the Palatine Hill, and the Sabines the Capitoline, the 
marshy ground between served as neutral territory, whereon both 
parties could meet. Gradually it became a market-place and an 
exchange, till, at length, all the important business of Rome and 
of the Empire came to be concentrated in and about the Forum. 

A portico was built around the Forum, the first story being de- 
voted to shops and the second to offices for the collection of taxes. 
After some centuries, these were destroyed by fire, when various 
basilicas and temples were erected in their places. The Forum 



336 ROMA 

existed as such till the 11th cent., A.D., when it was totally de- 
stroyed by Robt. Guiscard. Becoming then a waste, the rubbish 
of the city was thrown there until the entire space was filled to 
the depth of 24 ft. and the location and names of the ancient 
buildings lost. In the revival of learning, in the 16th cent., interest 
began to be awakened in the ruins of Ancient Rome, and in 1547, 
excavations of the Forum were commenced, under Paul III., 
which, with much irregularity have continued to the present day. 

Standing upon the causeway, at the left of the arch of 
Sep. Severus, and facing the Capitol, the eight granite Ionic 
columns at the 1 , standing upon a base 16 ft. high, are of the 
* Temple op Saturn, b.c. 491, restored B.C. 44; erected upon 
the site of the Sabine altar to Saturn. Between the ruins of 
the Temples of Vespasian and of Saturn, is seen the ancient pave- 
ment of the Via Sacra, which descended from the Capitoline 
Hill through the Forum. 

The three white marble Corinthian columns in the rear are a 
portion of the * Temple op Vespasian, of which only these 
columns and the entablature remain. It was erected by Titus 
about a.d. 80, and restored by Sep. Severus. Until the present 
century, the columns had long been buried nearly to the capitals. 
The frieze contains various sculptures of sacrificial instruments ; 
the knife, the axe, the flamen's cap, etc. 

At the extreme 1. in the rear are ten small pillars, recently 
placed, representing the Colonnade of the 12 gods ; beyond these 
was the Schola Xanthus, a building used by scribes and notaries. 
This portion of the Forum is terminated by the walls of the an- 
cient Tabularium, or Hall of Records, erected B.C. 78, upon which 
the present Palace of the Senator stands. One arch of the origi- 
nal wall is seen at the extreme left. Between the arch of Sep. 
Severus and the Tabularium, and against the latter ; at the r. 
stood 

The Temple op Concord, erected B.C. 388, in commemo- 
ration of the conclusion of the struggle between the patricians 
and plebeians. This was also the Senatorial Hall.. Here Cicero 
convoked the Senate, B.C. 63, on the occasion of the Catiline 
Conspiracy ; and delivered his memorable Second Oration against 
Catiline. 

Nearer the arch is the Umbilicus Romae, from which distances 
within the city were measured ; and near the corner of the Tem- 
ple of Saturn, a conical structure, the MUiarium Aureum, from 



ROMA 337 

which distances throughout the empire were measured. Between 
these two is a raised circular wall, the ancient Rostra. 

It was in the space before us that the surviving Horatius was 
condemned, and saved by the voice of the people ; that Romulus 
and Tatius met to regulate affairs between the Romans and Sa- 
bines ; that Brutus gave sentence and saw his two sons executed ; 
that Cicero pronounced his orations against Catiline ; and Marius 
affixed the heads of Octavius, Antony, and Cicero to the Rostra. 

The Arch of Sep-tim'-i-us Se-ve'-rus was erected a.d. 205 
by the Senate to the Emperor and his sons Caracalla and Geta. 
Caracalla, having put his brother to death, erased the words in the 
inscription upon the arch relating to him, "EtP. Septimio L. Fil 
Getse Nobilis Csesari," and inscribed in place "P. P. Optimisque 
fortissimisque principibus. " The erasure will be readily recog- 
nized in the 4th line. The arch was surmounted by a car drawn 
by six horses abreast, containing the figures of the Emperor and 
his sons. Beneath the Arch is a paved roadway some centuries 
later than the Via Sacra. 

" The proportions of the arch of Sep. Severus are very fine, the aspect is impos- 
ing; it possesses solidity without heaviness. The inscription has a double histo- 
ry ; it recalls the campaigns of Severus and the domestic tragedy which afterward 
stained the family." 

Across the street from the Arch of Sep. Severus is the Mamer- 
tine Prison. See Mamertine Prison. 

Facing the southern excavation, directly upon the r. is the 
Column of Phocas — "the nameless column with a buried base," 
of Byron. Prior to the excavations of the Forum, antiquaries 
could agree upon nothing concerning this column. The uncover- 
ing of its base showed that it was erected to the Emperor Phocas, 
by Smaragdus, 608 a.d. The greatly inferior art of the step and 
base leave no doubt that the column itself belonged to some ear- 
lier structure. 

*The Basilica Julia, farther to the right, was founded by Ju- 
lius and completed by Augustus Ceesar, on the site of the Basilica 
Sempronia. The low brick pedestals are restorations of the pil- 
asters, supposed in the style, of the dimensions, and upon the 
foundations, of the ancient structure. Some portions of the 
original steps may be seen along the front and eastern end of 
the Basilica. 

In the midst of the open space in front of the Basilica stood 
the colossal equestrian Statue of Domitian. The three fine 
22 



338 ROME 

Corinthian Columns beyond are ruins of the Temple op Castor 
and Pollux. These are regarded as among the finest specimens 
of pure Corinthian architecture remaining from the early Roman 
period. 

The temple was dedicated, B.C. 484, in commemoration of the 
victory of Lake Re-gil'-lus, 498, the tidings of which Castor and 
Pollux carried to Rome. Costly sacrifices were here offered on 
the anniversary of the battle. In front of this temple stood 

The Temple op Julius Cesar Deified, upon the place 
where his body was burned. At the s.e. corner of the Temple of 
Castor and Pollux was the Lacus Juturnce, near which Galba was 
thrown from his litter and murdered. Here also stood the Tem- 
ple op Vesta, where the sacred fire was preserved, and near 
which Numa had his residence. 

Across, upon the eastern margin of the present excavation was 
the Arch op Fabius, beneath which the Via Sacra passed on its 
way to the Arch of Titus. Here also was the Temple op Anto- 
ninus and Faustina, built by Antoninus, a. d. 141, of which the 
columns and a portion of the cella remain. Their preservation is 
due to the circumstance of its being modelled into a church, and 
as such still occupied. The date of the ch. (S. Lorenzo in Mi- 
randa) is unknown, but mention is made of it as early as 1430. 

Beyond this ch., excavations were made in 1878-9, disclosing, 
however, little except the pavement of a roadway, which is proba- 
bly that of the Via Sacra, ascending toward the Arch of Titus. 
Upon the left, as one looks toward the Arch of Titus, is a low, cir- 
cular structure of brick, near the Basilica Constantine, called the 
Temple of Romulus, which was erected by Emp. Maxentius to his 
son Romulus, about 306 a.d. Later, the temple was incorporated 
into the Church of SS. Cosma e Damiano as a vestibule. The pave- 
ment of the Via Sacra will be observed here extending toward the 
Arch of Titus. 

Between the Temple of Romulus and the Coliseum are the 
ruins of Hadrian's double temple of Venus and Rome, of which 
nothing remains but the foundations and the double apsis. 

Rome, Lat. 41° 54' ; Lon. 12° 29' east. Pop. 300,000. The 
city lies on both sides of the Tiber, which here flows in a general 
direction to the s., the principal portion being upon the eastern 
bank, and comprising 6 of the 7 ancient hills. At the extreme n. 
is the Piazza del Popolo, adjoining which on the n!e. is the 
Pin'-ci-an (chee) Hill. On the e. are the Quir'-i-nal Hill and Quir- 



ROME 



339 



inal Palace ; the Vim-i-nal Hill and Rly. Station ; the Es-qui-line 
Hill, and ch. of S. M. Maggiore; to the s.e. are the Coelian (see- 
le-an) Hill, and ch. of St. John Lateran ; on the s. the Pal-a-tine 
Hill, with the ruins of the Palace of the Csesars; to the s.w., 
across the Tiber, Trastevere ; on the w. Janiculum Hill ; to the 
n.w. Vatican Hill and St. Peter's, nearly opp. to the Piazza del 
Popolo. The Capitoline Hill is on the southern margin of the 
present city. 

The Corso (core'-so), the chief thoroughfare, extends from the 
Piazza del Popolo through the heart of the city to the Capitoline 
Hill, about 1^ ml., and thence along the base of the hill through 
the Forum, to the Coliseum. Of the space occupied by the ancient 
city, and enclosed by the Aurelian Walls — the walls now standing 
— the entire southern half is an open field, the present city occu- 
pying but about half the territory within the walls. 
History and Chronology. 

Reign of the Early Kings : 

B.C. 753, Romulus established his city on the Palatine Hill, 
the Sabines occupying the Capitoline and Quirinal, and the 
Etruscans, the Coelian and the Esquiline ; small communities 
which were ultimately united. 



B.C. 

640?. Mamertine prison built by Ancus 
Martius. 

600. The Cloaca Maxima, to drain the 
Forum, was begun by Tarquinius 
Priscus and finished by Tarquinius 
Superbus. 

578. Servius Tullius erected the Servian 
Wall, 7 mis. in length. 

509. Expulsion of Tarquinius Superbus, 
the last of the kings ; establishment 
of the Republic. 

The Republic : 

509. L. J. Brutus, Consul. 

497. Temple of Saturn built. 

484. Temple of Castor and Pollux built. 

396. Conquest of the Veii, extensive ad- 
ditions of territory on the south. 

390. Destruction of the city by the 
Gauls. The city hastily rebuilt with 
crooked, narrow streets and indiffer- 
ent houses. 

312. Appins Claudius constructed the 
Via Appia and the first Aqueduct. 

146. Destruction of Carthage. Rome, 
now mistress of the world, rapidly 
increased in wealth and population. 
Walls destroyed to make room for 
houses ; massive structures erected. 
78. Tabularium, on which the Pal. of 
the Senator now stands, erected. 



70?. Tomb of CBecilia Metella. 
60. First Triumvirate, Caesar, Pompey 
and Crassus. 
46. Basilica Julia founded. 
44. Death of Caesar. 43. Second Trium- 
virate ; Octavius, Antony, and Lepi- 
dus. 31. Battle of Actium. 
The Empire : 

28. Augustus, Emperor. 27. The Pan- 
theon, and Tomb of Augustus erected. 
13. Theatre of Marcellus completed. 
10. Palace of the Caesars built. 
a.d. 14. Tiberius, Emp. 37. Caligula. 
41. Claudius. 54. Nero. 
68. Galba. 69. Othoand Vitellius. 70. 
Vespasian. 72. Coliseum commenced. 
79. Titus. 81. Arch, of Titus, Domi. 
tian. 96. Nerva. 98. Trajan. 
114. Trajan's Column. 117. Hadrian. 
130 ?. Hadrian's Tomb (Castle of St. 
Angelo). 145. S. Pudenziana, first 
ch. in Rome, built. 161. Marcus Aiv 
relius ; Statue of M. Aurelius. 
193. Septimius Severus. 
203. Arch of Sept . Severus. 
212. Baths of Caracalla. 221. S. M. in 

Trastevere. 230. St. Cecilia. 
270. Aurelian enclosed the city with the 

walls now standing. 
300. or prior, St. John Lateran. 
302 ?. Baths of Diocletian. 



340 



ROME 



306. Constantine, first Christian Emp.; 
St. Peter's Gh. built. 

311 ?. Arch of Constantine. 

End of Pagan, Borne. 

Mediaeval Rome : 

330. St. Loivnzo. 331. S. C. in Geru- 
salemme. 35.2. S. M. Maggiore. 

3G4. Division of the Empire. 388. S. 
Paolo Fuori le Mura. 

390. Theodosius destroyed ancient art. 

392?. St. Clement. 

410. Rome sacked by Alaric. 

442. S. Pietro in Vincoli. 

455. Rome sacked by Genseric. 

475. Romulus Augustulus, the last of 
the Emperors. Fall of the Empire. 

537. Invasion of Vitiges, Destruction of 
the Aqueducts. 

547. Invasion of Totila ; the walls over- 
thrown. 

7th and 8th cents, famine and pesti- 
lence nearly depopulated the city. 

845. Pope Leo IV. rebuilt the walls. 
Rome sacked by Saracens. 

10th cent. In the intestine commotions 
various castles were erected in the 
city with material taken from ancient 
temples, monuments, and other struc- 
tures. These civil dissensions so in- 
creased that, in 1309, the Pope re- 
moved the seat of his government to 
Avignon, Prance. 

14th cent. Distracted by the wars of 
the Guelphs and Ghibellines till re- 
duced to a population of 20,000. 



1377. Pope Gregory XI. restored th« 
pontificate to Rome. 

1417. Termination of the Papal Schism. 
Vast wealth brought to the city 
through the restored papacy. General 
prosperity ; revival of science and art. 

Modern Rome : 

1420. Colonna Palace erected. 

1450. St. Peter's commenced (the pre- 
sent structure \ 

1473. Sistine Chapel. 1503. Julius II., 
patron of Art. (M. Angelo, Raphael). 

1506. Farnesina built. 

1513. Pope Leo X., patron of art. 

1527. City devastated by the French 
under Charles de Bourbon. 

1544. Farnese Palace. 1564. Spada Pal- 
ace. 1574. Quirinal Palace. 

1590. Borghese Palace. 

1603. Rospigliosi and Sciarra Palaces. 

1625. Barberini Palace. 1729. Corsini 
Palace. 1798. Republic proclaimed, 
unsuccessful. 

1S00. Sculpture gallery of the Vatican 
commenced. 

1809-14. Governed by France. 1&31. 
Etruscan Museum. 

1849. Overthrow of the papal govern- 
ment, and a Republic proclaimed. 
In 1850, the Pope reinstated by the 
French. 

1870. French troops withdrawn, the 
papal government overthrown, and 
Rome united with the Kingdom of 
Italy. 



Principal Places and Objects of Interest. 



I. Antiquities. 
II. Churches. 



III. Galleries. 
IV. Statues and Pictures. 



I. Antiquities, which see respectively. 



Aqueducts. 

Angelo, St., Castle of. 

Augustus, Pal. of ; see Palatine Hill. 

Augustus, Tomb of. 

♦Cascelia Metella, Tomb of. 

Caius Cestius, Pyramid of. 

**Caligula, Pal. of; see Palatine Hill. 

**Capitoline Hill. 

♦♦Caracalla, Baths of. 

Catacombs. 

Cloaca Maxima. 

♦♦Coliseum. 

♦Constantine, Arch of. 

♦Constantine, Basilica of. 

Diocletian, Baths of. 

Hadrian, Tomb of ; see Angelo, St. , 

Castle of. 
♦Mamertine Prison. 

II. Churches, which see respectively; 

Andrea della Fratte. I Angeii, S. M. degli. 



♦Marcellus, Theatre of. 

Monte Testaccio. 

Obelisks. 

♦♦Palatine Hill. 

♦♦Pantheon. 

Pompey, Theatre of. 

♦♦Roman Forum. 

Scipios, Tomb of the. 

♦Sept. Severus, Arch of; see Roman 

Forum. 
♦*Tiberius, Pal. of ; see Palatine Hill. 
♦Titus, Arch of. 
Titus, Baths of. 
♦Trajan's Forum. 

♦♦Vespasian, Pal. of ; see Palatine Hill. 
♦Vespasian, Temple of; see Roman 

Forum. 



Andrea della Valle. 



♦Ara Coeli, S. M. 




m £g& West. 




East. &&~ 



ROME 



341 



Cecilia, S., in Trastevere. 

* Clemen te, S. 

*Croce, S., in Gerusalemme. 

Gesu, II. 

**John Lateran, St. 

Lorenzo, S., Fuori le Mura. 

*Maggiore, S. M. 

Pace, S. M. della. 



♦♦Paolo, S., Fuori le Mura (St. Paul's). 

♦Pantheon (S. M. Rotunda). 

**Peter's, St. 

*Pietro, S., in Vincoli. 

Scala Santa . 

♦*Sistine Chapel. 

Trinita de' Monti. 



III. Galleries. See under the titles in Italics. 





M. 






1st 








T. 

~ 





& 




u 




w. 

By 






15th 










T. 


F. 


s. 

~~ 

it. 






mon 









s. 







th 





9-4 ; i f r. 


*Alba?ii Villa, P. & Sculp 


Per 
2-5 





_ 

of 








m 
I 





ea 








Wint., 10 ; Sum., 11. 
12-5. 


** Borghese Pal., Pict 


9-3. 


Borghese Villa. Sculp 


Wint., 1-4; Sum., 4-7. 


Christian Mus., Antiq. & P 

Colonna Pal., Pic 

Conservators, Pal. of, Pic. & St. 

*Doria Palace, Pict 

*Farnesina Villa, Pict 


10-3; £fr. 

See Lateran. 

11-3: £fr. 

10-3 ; i fr. 

9-3 : i fr. 

10-2; ±fr. 

10-2; i fr.; closed Sum. 


Kirch eriano Mus., Antiq 

* Lateran Museum, Ant. &, Pic . 
*Ludovisi Villa, Sculp 


9-3 ; 1 fr. 
9-3 ; i f r. 
after 1 ; £ fr.;- permit. 


Palatine Hill, Antiq 


9-dusk ; 1 fr. 


Raphael's Loggie, Pic 


See Vat. Gall. 


♦♦Raphael's Stanze, Pic 

JRospigliosi Pal., Pic 


See Vat. Gall. 
10-4. 


Spada Palace, Antiq. & Pict 

**Vatican, Pinacoteca 


10-3; ifr.; closed Sum. 

Only by Permit. 

9-3. [only. 


♦♦Vatican, Sculptures 


9-3 ; M. & Th., 9-11 







indicates days free ; — admission fee. 



IV. Masterpieces ; Statues, 

♦Antinous, st. , Capitol Mies. 
**Apollo Bel., st., Vatican. 
*Apoxyomenos, at., Vatican. 

* Ariadne, st., Vatican. 
*Aurelius, M.. st., Cap. Hill. 
♦Augustus, Emp., st., Vatican. 
** Augustus, Young, st., Vatican. 
** Aurora, pic, Rospigliosi Pal. 
**Beatrice Cenci. pic, Barberini Pal. 
♦Cecilia, St., st., Ch. of St, Cecilia. 
Discobolus, st., Vatican. 
**Eros, st., Vatican. 
**Faun (Marble), st., Capitol Mus. 
Fornarina, pic, Barberini Pal. 
*Gala.ea, pic, Farnesina Villa. 
Ganymede, st., Vatican. 
**Gladiator, Dying, St., Capitol Mus. 

* Horse Tamers, st., Piazza Quirinaie. 

Ro?ites : To Pisa, 8 hrs., $8 ; $5.60 ; see Route 54. To Florence, 7 hrs., 
$6.S0 ; $4.75 ; see Route 50. To Naples, 6^ hrs., $6.80 ; $4.80 ; see Route 55. 



Pictures ; which see. 

♦Juno Ludovisi, st., Luclovisi Villa. 

**Last Judgment, pic, Sistine Chap. 

**Laocoon, st., Vatican. 

*Meleager, st., Vatican. 

♦Mercury, st., Vatican. 

♦* Moses, st., Ch. St. P. in Vincoli. 

**Pompey, st., Spada Palace. 

♦Psyche, Myth of, pic, Far. Villa. 

Satyr, st., Capitol Mus. 

* School of Athens, pic, Vatican. 

♦Sophocles, St., Lat. Mus. (See Lat. 

Mus.) 
**St. Jerome, Com. of, pic, Vatican. 
** Transfiguration, pic., Vatican. 
** Venus, st., Capitol. 
♦Venus, St., Vatican. 
Venus, of Canova, st., Borghese Villa. 



342 ROMU 

Romulus. The founder of Rome, 753 B.C.; ia said to have 
had his house on the Palatine hill, and to have constituted the 
Capitoline hill a refuge for criminals and slaves. After a suc- 
cessful reign he was taken to heaven in a chariot of fire. 

" It was not till a comparatively late period that the legend of Romulus and 
Remus was framed." — Baedeker. 

Romulus, Temple of, Rome. I. On Via Appia, near the 
tomb of C. Metella ; circular with a dome and remains of a Co- 
rinthian portico. Supposed to have been built by Maxentius, 
a.d. 311. 

II. At the southern end of the Roman Forum, near the Basil- 
ica Constantine. A small circular structure with a dome ; now 
constituting the vestibule of the church of SS. Cosma and Dami- 
ano. Erected by Maxentius to the memory of his son Romulus, 
a.d. 311. 

Rosa, Salvator, 1615-1673, b. at Naples ; pupil of Ribera. 
His adventurous life and his variety of talent have given great 
degree of popularity to his name. He worked in Naples, Rome, 
and Florence, where his pictures were held in esteem, and he 
himself was in hardly less repute as a poet and musician than as 
a painter. He had a surprising facility of execution, and of all 
the naturalistic artists of the 17th cent. , he is the only one who 
gave a picturesqueness to his compositions. He was master 
equally of devotional scenes and landscape. 

In style, his works are so exceedingly diverse that no one pecu- 
liarity can be designated as characteristic. His landscapes may, 
however, be said to be marked by an austerity essentially his 
own. His scenes are the haunts of robbers and wild beasts ; rug- 
ged, lonely wastes ; dark, forbidding precipices ; leafless, light- 
ning-struck trees ; desolate shores, and shipwrecks. His pictures 
now command extreme prices. 

Principal Wokks : Belv., two ; Berlin, 421 ; Brera, 388 ; Colon., The Bap- 
tist and others; Dresn., 2413, 2414; Edin., 159, 271, 74, 86, 410, 411; Hermit., 
220-1-2-3-4-5-6; Liver. Inst., 119; Louvre, 344, 345; Naples, Sala di Corr., 1; 
Nat. Gall., 84, 811 ; Pitti, 111, 133, 135, 188, 218, 306, 470, 453 ; Siena, 82 ; Uffi., 
1005, 293. 

Rospigliosi Palace (roas'-peel-yo'-see), Via del Quirinale, 
Borne. The Casino is open to the public W. and Sat., 10-4. The 
principal attraction is Guido's celebrated ** Aurora, upon the ceil- 
ing. A mirror is arranged upon a table to enable visitors to view 
the pictures ; see Aurora. 

In the Hall are pictures by van Dyck, Guido, and Domenichino. 



ROTT 343 

Boom to the rigid: Venus and Cupid, Domcnichino ; *Holy Fam- 
ily, Signorelli ; Samson, L. Carracci? ; * Vanity, Lotto; The 
Fall, DomenicMno. Boom to the left : *Andromeda, Guido ; Pie- 
ta, Passignani ; Bearing the Cross, da Volterra ; Triumph of 
David, Domenichino. 

Rotterdam, the second city in size, and the first in commer- 
cial importance in Holland, possesses very little beyond the pe- 
culiar aspect of a Dutch shipping centre to interest or detain a 
traveller. It has a population of about 150,000, and extensive 
commercial relations with all parts of the globe. The appearance 
of the city with its quaint gables, its innumerable canals, draw- 
bridges, ships and boats everywhere in the heart of the city, is 
peculiar and entertaining. 

The Groote Kerk possesses one of the largest organs ever 
constructed, the largest pipe being 17 inches in diameter and 36 
ft. in length. The Groote Markt contains a bronze statue of 
Erasmus, who was born in this city. The city has also a Museum 
of about 300 paintings, few of which, however, are of note ; open 
daily, ex. M., 10-4, Sun. 11-4; small fee. 

Routes: To London, by steamer 12 hrs., $6. To Amstekdam, 2)4 hrs., 
$1.50; $1.15. To The Hague, 20 min. $0.45; $0.35. To AiNtweep, 3 hrs., 
$2.25; $1.80. 

Rouen (roo'-awfi'), Fr., the ancient capital of Normandy, is 
situated on the Seine and contains a population of about 105,000. 

The Cathedral is noted for the tomb of Richard I. , Cceur-de- 
Lion, with the casket containing his heart. The tower reaches 
the elevation of 465 ft. The church of St. Ouen, 1318, " is one 
of the most exquisite Gothic churches in existence." In the Pri- 
ory of St. Gervais, Wm. the Conqueror died, 1087. Joan of Arc 
was confined in the Tower six months, and burned alive in the 
Place de la Pucelle. where her statue now stands. Rouen is also 
the birthplace of Corneille, 1660 ; Fontenelle, 1657 ; and Jouve- 
net, the artist. 

Royal Family of England, The. Her Majesty, Alexan- 
dria Victoria, born 24th May, 1819 ; succeeded to the throne, 
20th June, 1837, on the death of her uncle, King William IV.; 
crowned, 28th June, 1838, and married 10th February, 1840, to 
the late Field-Marshal His Royal Highness Francis Albert Au- 
gustus Charles Emanuel, Prince Consort, Duke of Saxony, 
Prince op Cobourg and Gotha, born 26th August, 1819 ; 
died 14th December, 1861. Her Majesty is the only child of his 



344 ROYA 

late Royal Highness Edward Duke of Kent, 4th son of King 
George III. Children : — 

1. Her Royal Highness Victoria Adelaide Mary Louisa, Prin- 
cess Royal, born 21st November, 1840 ; married 25th January, 
1858, to his Royal Highness the Crown Prince of Prussia, K. G., 
only son of the King of Prussia, Emperor William. 

2. Field-Marshal His Royal Highness Albert Edward, 
Prince of Wales, Duke op Saxony, Cornwall, and Rothe- 
say, Earl op Dublin, Colonel of the 10th Hussars, Colonel-in- 
Chief of the Rifle Brigade, Honorary Captain of the Royal Naval 
Reserve, born 9th November, 1841 ; married 10th March, 1863, 
to the Princess Alexandra (born 1st December, 1844), eldest 
daughter of the King of Denmark. Children : His Royal 
Highness Prince Albert Victor Christian Edward, born 8th Janu- 
ary, 1864 ; His Royal Highness Prince George Frederick Ernest 
Albert, born 3d June, 1865; Her Royal Highness Louisa Vic- 
toria Alexandra Dagmar, born 20th February, 1867 ; Her Roy- 
al Highness Victoria Alexandra Olga Mary, born 6th July, 
1868 ; Her Royal Highness Maud Charlotte Mary Victoria, born 
26th November, 1869 ; and His Royal Highness Prince Alex- 
ander John Charles Albert, born 6th April, 1871 ; died 7th April, 
1871. 

3. Her Royal Highness Alice Maud Mary, born 25th April, 
1843 ; married 1st July, 1862, to His Royal Highness the Grand 
Duke of Hesse, KG. ; died December 14th, 1878. 

4. His Royal Highness Alfred Ernest Albert, Duke of Edin- 
burgh, Earl of Kent, and Earl of Ulster, born 6th August, 1844 ; 
Captain Royal Navy, 23d February, 1866 ; married 22d January, 
1874; to the Grand Duchess Marie Alexandrovna, only daughter 
of the late Emperor of all the Russias. 

5. Her Royal Highness Helena Augusta Victoria, born 25th 
May, 1846 ; married 5th July, 1866, to General His Royal High- 
ness Prince Frederick Christian Charles Augustus of Schleswig- 
Holstein Sonderbourg Augustenbourg. 

6. Her Royal Highness Louisa Caroline Alberta, born 18th 
March, 1848; married 21st March, 1871, to John Douglas Suth- 
erland, Marquis of Lome, eldest son of the Duke of Argyll. 

7. His Royal Highness Arthur William Patrick Albert, Duke 
op Connaught and Strathearn, Earl of Sussex, born 1st 
May, 1850 ; a Lieut. -Colonel in the Army ; married March 13th* 
1879, to Princess Louise of Prussia. 



RUBE 



345 



8. His Royal Highness Leopold George Duncan Albert, Duke 
op Albany, born 7th April, 1853. 

9. Her Royal Highness Beatrice Mary Victoria Feodore, born 
14th April, 1857. 

Rubens, Sir Peter Paul, 1577-1640, b. at Siegen, West- 
phalia ; d. at Antwerp. His mother removed to Antwerp when 
he was ten years of age, at which place he studied until he was 
23. In 1600, he went to Italy and studied principaDy the works 
of Titian. Being employed by the Duke of Mantua, he was sent 
on an embassy to Spain. Returning to Antwerp he was made 
court-painter to Archduke Al- 




'%^^xS 






bert, 1608. In 1620, he was 
commissioned by Marie de Med- 
icis to decorate the Luxem- 
bourg, and executed a series of 
23 paintings now in the Lou- 
vre. Visiting England he paint- 
ed Peace and War, now in the 
Nat. Gall., and the Apotheosis 
of Wm. the Silent, for which 
he was knighted by Ch. I. 

The number of his known 
works is between 1,800 and 
2,000. The Descent from the 
Cross, in the Cath., Antwerp, 
is considered his masterpiece, 
though by many the Crucifixion 
in the Antwerp Mus. is regarded as of equal power. He seems 
to have been the master of every style and every subject, and to 
have been enamored of his wife's face and red mantle, which per- 
petually reappear. See Descent. 

" The works of Rubens have that peculiar property always attendant on genius 
to attract attention and enforce admiration in spite of all their faults. . . . 

" His animals, particularly his lions and horses, are so admirable that it may 
be said they were never properly represented but by him. His portraits rank 
with the best works of the painters who have made that branch of art the sole 
business of their lives. . . . 

" However, it must be acknowledged that he wanted many excellences which 
would have perfectly united with his style. Among these we may reckon beauty 
in his female characters ; sometimes, indeed, they make approaches to it ; they are 
heaithy and comely women, but seldom, if ever, possess any degree of elegance. 
The same may be said of his young men and children. His old men have that 



Castor and Pollux— Rubens. 



846 RUSS 

sort of dignity which a bushy beard will confer ; but he never possessed a poet 
ical conception of character. . . . 

" To conclude, I will venture to repeat in favor of Rubens what I have before 
said in regard to the Dutch school, that those who cannot see the extraordinary 
merit of this great painter either have a narrow conception of the variety of art, 
or are led away by the affectation of approving nothing but what comes from the 
Italian school.' 1 — Sir Jos/ma Reynolds. 

" Passionate movement, keen delight in action, and deep, strong sentiment are 
the elements of his style. 

"When, at the age of 63, he died there ended a career that hardly finds a 
parallel in the history of art for its eminent success in achievement, in brilliancy, 
and in fame. 11 — Liibke. 

' ' Rubens perhaps furnishes us with the first instances of complete unconven- 
tional, unaffected landscape. His treatment is healthy, manly, and rational ; 
. . . always, as far as it goes, pure, forcible, and refreshing, consummate in 
composition and marvellous in color. 11 — Ruskin. 

Principal Works : Amst. Hoop., No. 93 ; Ant., fifteen, *297, noted ; Bel v., 
thirteen; Berlin, eight; Bruss., nine; Brera, No. 444; Cap., 89; CasseL six; 
Colon., one ; Corsini, VII. 15; Darms., three; Dresd., twenty; Dul., 351, 355; 
Frank., three ; Hague, 213-4-5-6 ; Hermit., thirty-three ; Louvre, fourteen, be- 
sides the Marie de Medicis series of twenty-three ; Lille, 460-1-2 ; Lyons, 82. S3 ; 
Madrid, sixty-four ; Munich, about ninety ; Nat. Gall., twelve ; Pestb., 647, 717 ; 
Pitti, 14, 85, 86; Uffi., 140, 147, 180, 197, 812, 1140; Liecht., 89 to 94. Designs 
for tapestry ; V., several studies ; VI., seven pictures. 

Rubens' House is on the Place de Mier, beyond Rue Rubens, 
s. side, surmounted by a bust of Rubens. His tomb is in the 
Ch. of St. Jacques. 

^Russian Church, Paris, Rue Daru, Th. and Sun., 3-5. 
1860. Cost $240,000. Paintings ; On the walls, Adoration of 
Shepherds, Sermon on the Mount, Last Supper, Entry into Jeru- 
salem ; Central cupola, Christ blessing ; in the pendentives, the 
Four Evangelists ; on the elaboi'ate screen which divides the nave 
and choir are Christ and the Virgin. 

Sa-bine Mountains, or Hills, a range of the Apennines, 
upon the e. side of Rome, of which some ridges attain an alt. of 
5,000 ft. 

Salute, S. M. del la (sah-loo'-tay), ch., Venice, s. side, at s. 
end of the Grand Canal. Erected, 1681, by decree of the Senate in 
gratitude for the cessation of the plague from which 60,000 citi- 
zens died ; very rich in its decorations. On the r., 1st, 2d, and 3d 
chapels, painted by Giordano. Ceiling of the choir : 4 large com- 
partments by Salviati, 8 smaller ones by Titian, the representation 
of Matthew being Titian's portrait. 

In the passage to the sacristy, *St. Mark, Titian \ 3d chapei 
on 1., *Descent of the Holy Ghost, Titian. 



SANG 



347 



" One of the most impressive buildings in Venice, from its graceful proportions 
find conspicuous position." — Jarves. 

Sangallo, Giuliano di, 1443-1517; Antonio di, 1450?- 
1534, bro. of Giu.; Antonio di, 1482-1546, son of Ant.; archi- 
tects and ■wood-carvers ; the last was, for a time, the architect of 
St. Peter's, Rome. 

Sansovino, Jacopo, Tatti, 1477-1570, architect and sculp- 
tor. His Bacchus, in the Uffizi, is of great merit. He resided 
40 years in Venice, and was engaged upon many public buildings. 

Santi, Giovanni, 1440?-1494, b. Urbino, Italy. A painter 
whose works, though numerous, are little known. His chief 
claim to celebrity rests on his being the father of Raphael, whose 
reputation prob- 
a b 1 y exceeds 
that of any other 
artist who ever 
lived. 
PrincipalWorks: 
Berlin, 139; Brera, 
181 ; Colon., one ; 
Nat. Gall., 751. 

Sar'-to, An- 
drea del, Ag- 

nolo, 1488- 
1525, Italy. The 
name of Van- 
nucchi which 
was given to del 
Sarto toward 
the end of the 
17th century, 
was never borne 
by him, and is 
nowhere found 
in the family 
documents. He 

Was the son Of St. Agnes-del Sarto. 

Agnolo, a tailor of Florence, and the name del Sarto came from 
the occupation of his father. He was early apprenticed to a 
goldsmith, but afterward became the pupil of P. di Cosimo, At 
23, he painted the legend of S. Pilippo Benizzi in the SS. An- 
nunziata. In 1517, he was invited to France by Francis I. Ho 




348 SASS 

married Lucrezia del Fede, for whom he manifested an unabated 
tenderness, although she was utterly unworthy. She often fig- 
ures as the model of his Madonnas. 

In his youth, Andrea gave proof of extraordinary talent. 
Studying the works of Angelo, he achieved a grandeur and dignity 
in his figures which recalls those of Masaccio and G-hirlandaio. 
He was the greatest colorist of the Florentine school, with whom 
no one but Fra Bartolommeo is to be compared. 

Hillard observes he would have been a better artist had he had 
a better wife. 

" The Madonna del Sacco in a cloister of the Annunziata gives the highest 
point of Andrea's coloring and rendering in fresco, except his Last Supper . . 
the only one which can even distantly be compared with Leonardo, in the Re- 
fectory of the former Convent of S. Salvi, at Florence." — Burckhardt. 

"The chief excellence of Andrea, as compared with his contemporaries, is his 
incomparable blending of colors, his delicate flesh-tints, and his golden chiaros- 
curo, the transparent clearness even of his deepest shadows, and his entirely ori- 
ginal and perfect style of modelling." — Lubke. 

Principal Woeks : Barb., III. 90 ; Corsi., 9? ; Dres., 43-4, 113 ; Edinb., 327 ? ; 
Genoa, Pal. Brignole-Sale (rossi) IV., Holy Fam ; Hermit., 24, 25 ; Flor. Acad., 
59; Liecht., III. 58; Louvre, 319, 380-1 ; Madrid, 383-4-5-7-8 ; Munich, 576, 
548, 1174-5, 1181-6 ; Naples, Sala Grande, 53 ? ; Nat. Gall., 690, 17 ? ; Pitti, 81- 
7-8, 118, 123, 172, 184, 191, 225, 265, 307; Urn., 1112, 1176, 1254, 2080. 

Sassoferrato, Salvi, Grio. Battista, 1605-1685, b. at 
Sassoferrato. 

His subjects are principally Madonnas and Holy Families. He 
gave his Madonnas a sweetness and tenderness of expression not 
common in the works of the 17th cent. His coloring is usually 
pale or wan, and his execution minute. His infant Christs are 
usually sleeping on the lap of the Virgin. He made numerous 
copies of the works of Raphael and Titian, which, however, are 
easily recognizable. 

PeincipaIj Wobks : Alb. Villa, Madonna ; Belv., one; Berlin, 458 ; Borgh., IV. 
43, VI. 13 ; Brera, 412 ? ; Cassel, 344 ; Frank., 45 , Hermit., 257, 259 ? ; Liecht., 
III. 49; Liverp., 106; Louvre, 355, 356; Naples, Rom. Sch., 27; Nat. Gall., 200, 
140 ? ; Uffi., 191 ; Vat., Madonna with angels; Vienna, Chud., 5. 

Sa'-tyrs. See Fauns. 

Sca-la San-ta, The (scah'-lah'), Home, near St. John 
Lateran, containing a staircase of 28 steps of white-veined Tyrian 
marble, said to be those ascended by the Saviour when entering 
the Judgment Hall, and to have been brought from Jerusalem by 
Empress Helena. ISTo one is permitted to ascend but upon the 
knees. There are side-flights for returning. It was midway up 



SGHA 34B 

these stairs that Luther recalling the words, u the just shall live 
by faith," suddenly rose to his feet and descended. Above the 
etairs is the Sancta Sanctorum which only priests are permitted to 
enter ; contains a few relics. 

Schadow, Johann Gottfried (shad'-o), 1764-1850, b. 
Berlin ; went to Rome, 1785, studying in the schools of the best 
masters. Returning to Berlin he was appointed Professor of 
Sculpture in the University. Entombed in the Ch. of S. Andrea 
della Fratte, Rome. Among his celebrated works are Fred, the 
Gt. , at Stettin ; Bliicher, at Rostock ; Luther, at Wittenberg ; 
and the Quadriga, on the Brandenburg Gate, Berlin. His works 
" are vigorous protests against the mannerisms of the hitherto 
prevailing tendency, and reopen to sculpture a field which had 
now been almost lost to her for two hundred years." — Lubke. 

Scheffer, Ary (shef'-er), 1795-1858, b. at Dordrecht, Hoi.; 
removed to Paris, 1811. One of his first important pictures was 
the Defence of Missolonghi ; and among his later and more cele- 
brated is the series of nine pictures, from Faust. His master- 
piece is Paolo and Francesca, from Dante. His works are tinged 
with a want of hopefulness. He took great interest in the stir- 
ring events of government; was the friend of Lafayette. 

Scheveningen. See Hague. 

Schwanthaler, Ludwig (schwan'-tall-er), 1802-1848, b. 
at Munich ; executed there 12 gilt bronze statues of Bavarian 
monarchs, and many other works ; notably the statue of Bavaria, 
69 ft. in height, standing 1 ml. s. of Munich. See Munich. 

Sco -pas, a Greek sculptor, of the Isle of Paros. He flour- 
ished in the early part of the 4th cent. B. c. , but at what j>recise 
date is unknown. His Venuses were very celebrated among the 
Greeks, but the work most esteemed by them was his group of 
Achilles conducted to Leuce, attended by Poseidon, Thetis, dol- 
phins, and tritons. To moderns he is best known by the Niobedes, 
of which an antique copy is in the Uffizi, Florence. 

" He was successful above all others in reproducing touching pathos, and 
Btormy passion with a power that had as yet not been dreamed of. He was the 
first to model the goddess of love herself, in the full beauty of her naked body, 
the loveliness of which compelled a burst of admiration." — Lilbke. 

Sciarra Palace (sche-ah'-rah), Sciarra-Colonna, Rome. 
The finest structure on the Corso. It formerly contained a good 
collection of pictures, but many have been sold, and visitors are 
now eeldom admitted. The most noted of the works are Raphael's 



350 SCIP 

Violin Player, Titian's Donna Bella, and Caravaggio's Gamblers, 
of which numerous replicas and copies exist. 

Scipios, Tomb of the (sip'-e-oze), on the 1. of the Appian 
Way, near the Porta S. Sebastiano ; discovered in 1780. Ex- 
cavations brought to light the well-preserved chambers, con- 
taining various inscriptions and the *sarcophagus of L. Cor- 
nelius Scipio Barbatus, now in the Vatican Museum. Among the 
inscriptions were those of Lucius Cornelius Scipio Barbatus, L. 
Cornelius Scipio and son, a son of S. Africanus, and a son of S 
Asiaticus. 

Scotland extends fromn. to s., a distance of about 280 miles. 
From e. to w. , it varies from 150 to 32 mis. in width, and con- 
tains a population of nearly 4,000,000. The lowlands lie be- 
tween the southern boundary and the vicinity of Loch Katrine, 
whence the highlands extend to the Northern Ocean. The rag- 
ged country of the north is little more than a succession of hills 
and mountains, interspersed with lakes and inlets, creating an 
endless variety of the boldest and most romantic scenery. 

The Celtic line of kings having terminated in 1286, Robert 
Bruce, after a struggle of some years, came to the throne, 1306, 
under the title of Robert I. He was succeeded by his son, David 
II., 1329, and by his grandson, Robert II., 1370. Robert III., 
eon of Rob. II., after a reign of 16 years, left the throne, 1406, 
to his son, James I., who was assassinated, 1436. James II., son 
of James I., was born at Stirling Castle, 1430, crowned at six 
years of age, killed, 1460, by the bursting of a cannon, and was 
buried in Holyrood Abbey. 

James III., his son, was crowned, 1460, married Margaret of 
Denmark, 1469. His son, James IV. , came to the throne, 1488, 
married Margaret, daughter of Henry VII., of England, 1503. 
James V., son of James IV., was crowned at Stirling, 1513, and 
married Madeline, daughter of Francis I., of France, 1537, and 
afterward Mary of Guise. Meeting with a disastrous defeat by 
the English at Solway Moss, he died of a broken heart, 1542, 
leaving the crown to his daughter Mary, then only ten days old. 

Mary Queen of Scots was crowned immediately upon the death 
of her father. Educated in France, she married Francis II., of 
France, and afterward, Lord Darnley, of Scotland, 1565, and 
was deposed, 1568. See Mary Queen of Scots. 

James VI., her son, was born, 1566, in Edinburgh Castle, and a 
year afterward was declared king and crowned in Stirling Castle. 



SCUL 



351 



He married Ann of Denmark at Holyrood and succeeded to the 
orown of England in 1603. His son, Charles I. of Eng. and Scot., 
was beheaded, 1649. 

Charles II. , son of Ch. I. , reigned from 1660 to 1685, and was 
succeeded by James II., his brother, who abdicated in 1688. His 
son, known as The Pretender, attempted to regain the throne of 
his fathers, but met a disastrous- defeat at Sheriff muir, 1715. He 
is buried in St. Peter's, Rome, as James III. 

Thirty years later, Charles Edward, The Young Pretender, re- 
newed the attempt of his father, and gained important victories 
over the English at Preston Pans and Falkirk near Edinburgh, 
but was totally defeated at Culloden, 1745, the last battle fought 
on English soil. He was also buried in St. Peter's, Rome, his 
tomb being inscribed King Charles III., of England. 

Sculptors, Greek. Little has thus far been found, either 
in the sculptures themselves, or in ancient writings, to connect 
the works discovered with any known Greek masters. In a few 
instances the work bears the name of the artist ; in other cases, 
the characteristics of the sculpture, the locality where it was dis- 
covered, and its history lead to the inference that it was the work 
of a certain sculptor. But, at the present time, such inferences 
must still be regarded as largely conjectural. In the accompany- 
ing list, those works which have generally been assigned to a mas. 
ter, are placed against his name merely as works attributed ta 
him. The dates given, are also, in some instances, conjectural. 



200-100, A-ga'-si-as (Hegasias or He- 
giaa), Borghese Gladiator, Louvre. 

900, Ag-e-la'-das, master of Phidias, 
Polyeletus, and Myron. 

160, A-ge-san'-der and Sons, Laocoon, 
Vatican. 

330-300, Ap'-ol lo'-ni-us, Belvedere 
Torso, Vatican. 

200, Apollonius, with Tauriscus, Toro 
Farnese, Naples. 

300, Be'-das. son of Lysippus, Praying 
Boy, Berlin. 

Bo-e'-thus, Boy with Goose, Louvre. 

450, Cal'-a-mis, Apollo Belvedere ? Vat- 
ican. 

Cal-lim'-a-chus, Corinthian column. 

372, Ceph'-i-sod'-o-tus. father of Prax- 
iteles ? ; Wrestlers ? Florence. 

350, Cle-om'-e-nes, Venus de Medici, 
Florence. 

Cres'-i-las, Wounded Amazon, Capita- 
line Museum. [pies. 

100, Gly'-con, Hercules Farnese, Na- 



He'-li-o-do'-rus, Wrestlers? Florence, 
Le-och'-a-res, Eape of Ganymede. 

Copy iii Vatican. 
330, Ly-sip'-pus, Portrait busts of Alex. 

the Gt. 
47U, My-ron, Copy of the Discobolus, 

Vatican and Massami Pal. and Satyr 

in Lateran Museum. 
Nau-ki' des, Copy after Discobolus, 

Vatican. 
4S4-432, Phid'-i-as, Elgin Marbles? 

British Museum. 
452, Pol-y-cle'-tus, Head of Juno, 

Naples. 
392, Prax it'-e-les, Venuses, copies 

only extant. Copy also of Saurokto- 

nos and Eros. 
4S0, Py-thag'-o-ras, Apollo Belvedere ? 

Vatican. 
398, Sco'-pas, Niobe? Florence; Tomb 

of Mausolus. 
200, Tau-ris'-cus. See Apollonius. 



352 SCUL 

Sculpture, like Architecture, had its origin in religion. For 
a long period the only statues made or permitted in Greece were 
those of the gods ; and these were merely symbols, usually 
blocks of wood or unhewn stone, having no pretension to being 
images. Gradually they approached finer form, and whilst 
among all peoples divinities had been represented by lower ani- 
mate beings, or monsters of human shape, the Greeks clothed 
their gods with their highest conceptions of beauty. It has thus 
been observed that though the Greeks did not invent sculpture, 
they did invent beauty. Statues of men first appear between 
jb.c. 600 and 500, about which time sculpture may be said to 
have reached the capability of an art in Greece. 

Grecian Sculpture is divided into four styles or periods : 

I. The Athletic Style, extending from the earliest Grecian 
times to B.C. 500. The statues of this period are of the gods and 
athletes, and are mostly nude ; among these one of the moat 
noted example is the Hercules. 

II. The Intellectual, or Grand Style, from b. c 500 to 400 ; pro- 
ducing Jupiter, Minerva, Juno, the Muses, the Minor Goddesses, 
and the Philosophers ; generally draped, and characterized by 
dignity and grandeur. The great masters of this period were 
Ageladas (the master of Phidias, Myron, and Polycletus) ; Phidias, 
who wrought the Olympian Jove and the Minerva of the Acropo- 
lis ; Myron, a Discobolus and a celebrated figure of a cow ; and 
Polycletus, a Juno and an Amazon. 

III. The Graceful Style, from B.C. 400 to 300 ; of which beauty 
is the leading element ; figures chiefly nude. The masters of 
this period were Scopas, who produced Venus Victrix and the 
Group of Niobe ; Praxiteles, the Venus of Knidos, Diana, Apollo 
Sauroktonos, Faun of the Capitol, Eros of the Vatican, Bacchus, 
and Apoxyomenos. 

IV. The Dramatic Style, from about b. c. 300 to the overthrow 
of Greece, B.C. 146 ; characterized by intenser passion and greater 
violence of action. Of this School the principal masters were 
Lysippus, of whose 600 works probably not an original remains ; 
Agesander and his sons, Polydorus and Athenodorus, sculptors of 
the Laocoon ; Apollonius and Tauriscus, of the Farnese Bull. 

The Beautiful in Grecian Art began with Praxiteles and culmi* 
nated with Lysippus, in sculpture ; and with Apelles, in painting. 
In Lysippus, the angular was supplanted by the undulating line, 
Upon the subjugation of Greece its art was extinguished, and its 



SCUL 353 

untold treasures were carried to Rome by her victorious generals. 
M. Fulvius took from ./Etolia 230 marbles, 280 bronzes ; Nero 
took 500 from Delphos for his Golden House ; and 3,000 were 
taken from Rhodes. How many were ultimately taken may be 
inferred from the fact that M. Scaurus had 6,000 in his theatre 
alone. Lanzi estimates that fragments of not less than 170,000, 
have been discovered in Italy. 

Yet, amid all this art treasure for 5 centuries, Rome never be- 
came artistic, nor the Roman mind its home. Grecian masters 
Hocked to Rome, and innumerable works were produced, but in- 
variably nothing except copies of Greek ideals, save the single in- 
stance of the Antinous. The Emperors soon evinced a fondness 
for seeing themselves in marble, and when the succession became 
somewhat rapid, this demand was promptly met by decapitating 
Greek statues, and substituting portrait heads of the emperors. 
The Greek inscription was erased and a new one supplied. The 
artists also anticipated these orders by chiselling headless statues 
in advance, and then supplying the heads at demand. Sustained 
by such sentiments only, sculpture could at best be but an imita- 
tive art, whose speedy decline nothing could prevent. 

By the close of the fourth century, Christianity had come to be 
the leading religious sentiment of Rome, but as the statues of the 
gods still bound the people to the religion of their fathers, about 
£90 A.D., Theodosius issued his famous order for the entire de- 
struction of " heathen art." Some of it escaped by being hastily 
buried, immured in walls, or thrown into the Tiber. Much of it 
was, however, absolutely destroyed. With the downfall of Rome 
and tbe successive invasions of the Northern hordes, who knew 
the language of neither the Latins nor Greeks, all knowledge of 
the buried treasures of Rome perished from the mind of man. 

For a thousand years Rome was the prey of every spoiler, till 
its wretched and impoverished inhabitants numbered scarcely 
20,000. Gradually the massive structures were plundered of 
every article having any value or use ; stones were taken when- 
ever they could be appropriated, and the richest of wrought mar- 
bles were consumed for making lime. At last, this long lethargy 
was broken by a new spirit of inquiry centring at Florence. The 
Latin and Greek languages once more made known the civiliza- 
tion and culture of the Grecian and Roman times. Art awakened 
to new life, and, in the endeavor to recall the spirit and principles 
of the Greek masters, every specimen of Greek workmanship be- 
23 



354 SCUL 

came priceless. Better times having come to Rome, as she dug 
the foundations of her new palaces she brought to light the long- 
forgotten treasures of Greek sculpture. For three centuries these 
antiques have been gathered, and now constitute the present in- 
estimable collections of the Vatican, the Capitol, of Naples, Paris, 
London, and Berlin. 

Modern Sculpture has attempted little in comparison with 
Modern Painting ; yet in Angelo and Thorwaldsen it has produced 
works holding rank with those of the best period of Greece. 

Sculptures, Noted. See Statuary. 

Sebastian©, S., ch., Venice, situated in the s.w. part of 
the city, contains the tomb of Paul Veronese, and a mon. by 
Sansovino to Bp. Podocataro. In the Choir are a Madonna, a St. 
Sebastian, the Martyrdom of SS. Mark and Marcellinus ; and on 
the Organ, a Purification, the Pool of Bethesda, all by P. Vero- 
nese. 

Sep-tim'-i-us Se-ve'-rus, Arch of. See Roman Forum. 

Seven Virgins, The Legend op Schonberg. 

There once lived in this castle a knight who had seven beautiful daughters. 
They grew up with no training, and lived a life of coquetry and folly. Beautiful 
and wealthy, they had many suitors, whom they laughed to scorn. A quarrel hav- 
ing arisen between two knights concerning the maidens, the sisters were requested 
to end this folly and make a choice of husbands. 

The next day was appointed, and upon the knights assembling in the saloon, a 
servant announced that the sisters desired them to repair to an arbor on the river 
bank. Here they saw the sisters already in a boat at a distance from the shore ; 
one stood in the stern and told the knights they never intended to marry, but were 
going away to the Netherlands where they might continue to enjoy their sport. 
Scarcely had they uttered these words when a storm arose, upsetting the boat and 
drowning the haughty, stony-hearted maidens. Immediately there appeared at 
this place seven rocks, called the " Seven Virgins." 

Sevres (save'-r), Fr.; by tramway from the Louvre, and by 
rly. from station St. La-zare or Montparnasse. The celebrated 
♦porcelain manufactory may be visited daily, ex. Sun., 11-4. 

Siegfried (seeg'-freed), Legend of the Drachenfels. 

The heathen who dwelt in the Siebengebirge had made an incursion upon the 
Christian tribes, and brought away much booty, and among the prisoners a " very 
beautiful maiden." All wished to possess her, but especially Siegfried, or as he is 
sometime'- called, Ottfried, or Rinbod. Whereupon the priestess decided that so 
beautiful a maiden would engender perpetual animosity, and that therefore she 
should be thrown to the dragon who dwelt in a cave on the Drachenfels. 

Siegfried was in despair when the maiden was led forth, but she advanced with 
a resolute step as if fearing nothing. As the dragon came rushing toward her, he 
suddenly fell to the ground, when Siegfried plunged his sword into the monster 
and slew him. 



SIEN 355 

All shouted for joy that Siegfried had rescued the maid and slain the dragon. 

Siegfried afterward learning that it was the sight of the Cross which had caused 
the dragon to fall to the earth, was converted and baptized, and marrying the 
maiden, built the Castle of Drachenfels, wherein the Drachenburgers lived for ten 
centuries. 

Siena (see-a'-nah), the Roman Sena Julia ; pop. about 25,- 
000. In the middle ages it was one of the most important cities 
of Italy, numbering 200,000 inhabitants, and in the arts was the 
rival of Florence. The School of Siena is noted for its delicate 
and deep sentiment of devotion. 

TJie Cathedral occupies a commanding position near the centre 
of the city, upon the site of an ancient temple of Minerva ; the 
f acade is of red, white, and black marbles ; the pavement is of 
gray and white, with shaded lines ; the bronze tabernacle is by 
Lorenzo da Pietro ; the pulpit and reading-desk by Nicolo Pisano 
and his pupils. Duccio has pictures in several of the chapels. In 
the library are 10 frescos by Pinturicchio. 

Beneath the Choir, in the rear of the Cathedral, is an ancient 
Baptistery with sculptures by Donatello, Ghiberti, and Quercia. 

The Instituio deUe Belle Arti, daily, 9-3 ; free ; contains a fine 
collection of paintings of the Early Sienese School. 

Sign orel I i, Luca Egidio di Ventura (seen'-yohr-el-ly), 
1441 ?-1521, b. at Cortona, Italy. In the representation of mus- 
cular and statuesque figures, he is one of the most remarkable of 
the early masters, and foreshadowed Michael Angelo. His know- 
ledge of anatomy was surprising for his time. His principal works 
are in the cathedral at Orvieto, and in the Sistine Chapel, Rome. 

" He was one of the mightiest spirits of the century. Bold and powerful, striv- 
ing to attain the loftiest aims, and supreme, above all his contemporaries, in the 
impassioned portrayal of stirring scenes ; he was also one of the first to paint the 
naked figure to any great extent." — Lubke. 

Simplon Road. See Route 35. 

**The Sistine Chapel (sis-teen), erected by Sixtus IV., 
1473. Open daily, 9-3, ex. Sat., Sun., and holidays; permit, 
(permesso) necessary. Entrance in the r. colonnade, past the Swiss 
Guard, one flight up; door on the r. : ring the bell. Standing at 
the altar end of the chapel, directly to the right on entering, the 
seven pictures on the 1. wall are representations of the Life of 
Christ. 



1. The Baptism, Perugino. 

2. The Temptation, Botticelli. 

3. Calling the Apostles, Ghirlandaio. 

4. Sermon on the Mount, Bosselli. 



5. Giving the Keys to Peter, Perugino. 

6. The Last Supper, RosselU. 

7. The Resurrection, Ghirlandaio. 



356 



SIST 



The seven on the r. wall are from the life of Moses. 



1. Moses and Zipporah, Signorelli. 

2. Killing the Egyptian, Botticelli. 

3. After the Passage of the Red Sea, 

Rosselli. 

4. Giving of the Law, Rosselli. 



5. Koran, Dathan, and Abiram. Bolti 

celli. 

6. Death of Moses, Signorelli. 

7. Michael with the body of Moses, 

Salviati. 



ALTAR END 

Last Judgment 



** The Ceiling, by Angelo, was commenced 1508. 

The central flat portion contains nine pictures from the Old 
Testament. In the curved triangular spaces on the sides are 7 

Prophets and 5 Sibyls. In 
the arches and lunettes (a), 
between the triangles, are 
representations of the gene- 
alogy of Christ. 

(To obtain the correct rela- 
tive position, the diagram 
must be held above the head. ) 

' ' The prophets and sibyls in the 
triangular compartments of the 
curved portion of the ceiling are 
the largest figures in the whole 
work ; these, too, are among the 
most wonderful forms that modern 
art has called into life. They are 
all represented seated, employed 
with books or rolled manuscripts ; 
genii stand near or behind them. 
These mighty beings sit before us 
pensive, meditative, inquiring, or 
looking upward with inspired coun- 
tenances. 1 ' — Kiigler. 

" They sit here in twelve throne- 
like niches, more like presiding 
deities, each wrapt in self-contem- 
plation, than as tributary witnesses 
to the truth and omnipotence of Him they are intended to announce."— Lady 
Eastlake. 

" The bold foreshortenings, the determinate force with which every figure steps 
forward, is amazing, and carries one quite away ! It is a spiritiial Sermon on the 
Mount in color and form. Like Raphael, we stand in astonishment before the 
power of Michael Angelo. Every prophet is a Moses like that which he formed in 
marble. What giant forms are those which seize upon our eye and our thoughts 
as we enter I 

'* But when intoxicated with this view, let us turn our eyes to the background 
of the chapel, whose whole wall is a high altar of art and thought ; the great 
chaotic picture, from the floor to the roof, shows itself there like a jewel, of 
which all the rest is only the setting." — Anderson' 's Improvixatnre. 

** The Last Judgment. — Thirty years after the completion 




SIST 35? 

of the ceiling, Angelo commenced this great work, to which he 
devoted eight years, doing the entire work without assistance. 

At the top, under the arches, are angels with the instruments 
of the Saviour's Passion. In the centre is Christ, as Judge, with 
the Virgin at his right, surrounded by apostles and patriarchs. 
Beyond these, on the spectator's right, are martyrs with instru- 
ments of torture ; and on the left, saints. Below, in the centre, 
are angels sounding the last trump. In the lower range, left, 
are the saints rising and coming forth from their graves and as- 
cending to heaven ; on the right, the damned are being seized 
and dragged down to perdition. In the centre, Charon is driving 
the condemned from his boat. In the lower right hand corner is 
the portrait of Messer Biagio, who had criticised the nudity of 
the figures. In return for this criticism, Angelo gave him ass's 
ears and placed him in hell with a serpent coiled about his body. 
Whilst Angelo was yet living, Paul IV. contemplated the destruc- 
tion of the picture on account of the nudity of the figures. He 
was, however, dissuaded from the design by the suggestion of 
clothing. For this purple Daniel da Volterra was employed, for 
which labor he was honored with the sobriquet of Braghettoni, 
the breeches-maker. 

The work has become so dimmed by the dust and incense 
smoke of three and a half centuries that it can now be seen with 
comparatively little satisfaction. 

A copy of the Last Judgment is in the Ecole des Beaux Arts, 
Paris. 

" The upper part of the composition is in many parts heavy, notwithstanding 
the masterly boldness of the drawing ; confused, in Spite of the separation of the 
principal and accessory groups ; capricious, notwithstanding a grand arrange- 
ment of the whole. But, granting for a moment that these defects exist, still this 
upper portion, as a whole, has a very impressive effect, and, at the great distance 
from which it is seen, some of the defects alluded to are less offensive to the eye. 
The lower half deserves the highest praise. In these groups, from the languid 
resuscitation and upraising of the pardoned, to the despair of the condemned, 
every variety of expression — anxiety, anguish, rage, and despair — is powerfully 
delineated. In the convulsive struggles of the condemned with the evil demons, 
the most passionate energy displays itself, and the extraordinary skill of the 
artist here finds its most appropriate exercise." — Kugler. 

" The Last Judgment is now more valuable as a school of design than as a fine 
painting, and it will be sought more for the study of the artist than the delight 
of the amateur. Beautiful it is not ; but it is sublime — sublime in conception 
and astonishing in execution. Still, I believe, there are few who do not feel that 
it is a labor rather than a pleasure to look at it. . . . 

" St. Catherine, in a green gown, and somebody else in a blue one, are stt 



358 SNAY 

premely hideous. Paul IV., in an unfortunate fit of prudery, was seized with the 
resolution of whitewashing over the whole of the Last Judgment, in order to 
cover the scandal of a few naked female figures. With difficulty was he pre- 
vented from utterly destroying the grandest painting in the world, but he could 
not be dissuaded from ordering these poor women to be clothed in this unbecom- 
ing drapery." — Eaton. 

" Michael Angelo avenged himself upon Messer Biagio da Cesena, master of the 
ceremonies, who first suggested the indelicacy of the naked figures to the Pope, 
by introducing him in hell, as Midas, with ass's ears. When Cesena begged 
Paul IV. to cause this figure to be obliterated, the Pope sarcastically replied, ' I 
might have released you from purgatory, but over hell I have no power. 1 v — 
Hare. 

" The lower part of the composition, in which the sufferings of the condemned 
are delineated, is that in which we find the least to object to ; for there the tre- 
mendous power which is stamped upon the whole work finds its appropriate 
sphere and legitimate expression. Forms and faces more trembling and con- 
vulsed with despair were never embodied or conceived.'" — Hillard. 

" There can be no doubt that while these frescos continued in their perfection 
there was nothing else to be compared with the magnificent and solemn beauty of 
this chapel. Enough of ruined splendor still remains to convince the spectator of 
all that has departed ; but methinks I have seen hardly anything else so forlorn 
and depresing as it is now , all dusty, dusky, and dim, even the very lights having 
passed into darkness and shadows into utter blackness." — Hawthorne. 

* Snayers, Peter, 1593-1670?, b. at Antwerp; was court 
painter to Archduke Albert ; painted landscapes and martial 
scenes. 

Snyders, Franz, 1579-1657, b. at Antwerp, pupil of Hell 
Brueghel, friend of van Dyck. Next to Rubens the best animal 
painter of the Dutch school, also- of market scenes. He fre- 
quently painted animals in Rubens' pictures, in exchange for 
Rubeng' figures in his own. 

Sistine Madonna. See Madonna. No. 7. P. 210. 

Principal Works : Ant., 335, 336 ; Belv., one ; Berlin, 878, 774A, 774B, 774 
assisted by Rubens ; Brera, 381 ; Bruss., 314 ; Cassel, 198 ; Dresd., 887, 889, 891, 
892 ; Edinb., 126, 128, 390, 324 ; Frank., 127 ; Hague, 221-2 ; Hermit., 1312-3-4- 
5-7, 1320, 1324; Louvre, 116, 120; Lyons, 85; Madrid, 1677, 1684; Munich, 205, 
297, 305, 317 ; Uffi., 220. 

Sodom a, II, Giovanni Antonio Bazzi, or Razzi, 1473- 

1549, b. at Vercelli, Italy ; lived at Siena. In the Villa Farne- 
sina, Rome, are two admirable frescos ; the Marriage of Alex- 
ander with Roxana ; and the Family of Alexander in the Tent of 
Darius. In the first, the head of Roxana is regarded as among 
his best works. Hi3 frescos are principally at Pisa and Siena. 
His panel pieces are rare. He is one of the best masters of the 
Sienese school. 



SORB 



359 



41 He fills his space to such a degree with motives of every kind, that one 
always drives out another, or destroys its effect. He succeeds best with his single 
figures, of which some are unsurpassed by any in the world." — Burckhardt. 

" This artist is worthy of note, not so much for any grandeur of conception, or 
clearness of composition, as for his uncommonly fine aesthetic sense, and his fac- 
ulty of giving expression to a profound enthusiastic feeling. In addition to this, 
his fancy evolved the noblest forms, and he possessed the secret of the softest and 
airiest blending of colors." His Marriage of Alex, with Eoxana "is full of beauty, 
showing wonderful lightness of touch, warm, airy coloring, and unsurpassable 
softness in its gradation of tints. One is forced to admire the charming beauty 
of the head of Eoxana, even in the presence of Raphael himself." 

Principal Works: Belv., one ; Farnesina, Hall II. frescos; Pisa, IV. Ma- 
donna and Sts.; Siena, 205, 341, 342, 85-6-7 : Turin, 50, 376 ; Uffi., 1279. 

Sorbonne, The (-bun), or University op France, Paris; 
s. Lank of the Seine, rear of the Hotel de Cluny, was founded 
1250, by Robert de Sorbon, confessor to St. Louie. It soon be- 
came one of the most powerful ecclesiastical bodies in Europe, 
and in the Middle Ages denied the authority of the pope and 
defied his power. It is now the great seat of learning in France. 
In the church of the Sorbonne is the tomb of Richelieu. 

Sorrento, on the s. shore of the bay of Naples, and offering 
the finest views and the most delightful climate of southern Italy, 
may be reached by steamboat from Naples, (3 fr.) or by rly. to 
Castellamare, and carriage thence 7-£ mis. to Sorrento. The. 
Albergo del Tasso is said to be the poet's birthplace, 1544. 

Spada Palace. See Part II., Spada. P. 473. 

Spagna, Lo (spahn'-ya), Giovanni di Pietro, 1480F-1530? 
b. in Spain. Little is known of his early life ; in 1516 he was 
residing at Spoleto. His early style was Peruginesque ; later, he 
became an imitator of Raphael. His works are distinguished by 
fine coloring, depth of sentiment, and grandeur. 

Spain. See Route 64, p. 569-570. 

Splligen Pass, Switz. See Route 29 ; also Alps. 

**Stanze of Raphael, The, (rooms). Daily, 9-3, ex. 











a 


1 d 


» a 


t 


a 


1 


1 


2 


3 


a 


4 


C 


5 

a 


c 


6 

a 


c 


a\ 


7. 


c 




_ ... 






b 




b 




b 






5 





Sat., Sun., and holidays. Entrance the same as to the Sistine 
Chapel (same permit, permesso) ; one flight farther up. 

Rooms 1,2. Modern pictures. 

Room 3. The Immaculate Conception, by Podesti. 



360 STAN 

4. *First Stanza of Raphael ; Incenclio del Borgo. Of th« 
pictures in this room, Raphael painted the principal part of the 
Borgo ; the others were executed by Raphael's pupils, from his 
designs. 

Entrance wall (a) : Coronation of Charlemagne, the Emp. hav- 
ing the features of Francis I. of France. Beneath; Charlemagne. 
Right wall (b) : *Incendio del Borgo ; Pope Leo IV. arresting a 
conflagration in the Borgo, near the Vatican, by a miracle ; old 
St. Peter's in the background. The foreground exhibits the 
confusion and terror incident to such a scene. Some of the 
figures in the foreground are by Romano. 

" It is unquestionably the most popular picture of the series." — Baedeker. 

"The figure of the naked youth escaping from the fire by a wall and sustaining 
his whole weight by his hands, for powerful drawing and anatomical knowledge 
is worthy of Michael Angelo. — Hillard. 

Beneath : Godfrey de Bouillon. 

Wall of Exit (c) : Defeat of the Saracens by Leo IV., by G. da 
Udine, from Raphael's designs. Beneath : Ferdinand the Catho- 
lic and Emp. Lothaire, by Caravaggio. Window Wall {d) : Leo 
III. justifying himself before Charlemagne, by del Vaga. 

5. * Second Stanza of Raphael ; the Stanza della Seanst- 
tura. This is the first apartment painted by Raphael, 1508-1511. 

Wall of Entrance (a) : The Disputa, so called from the mistaken 
impression that it refers to a dispute upon transubstantiation. 
In the centre of the upper half are, God and angels ; beneath, 
Christ, the Virgin, and John Bap.; r., Paul, Abraham, James, 
and Moses ; 1. , Peter, Adam, John, David, and Stephen. In the 
lower part, fathers and theologians ; in the background, r. , Dante, 
laurel -crowned, and Savonarola with a cowl ; 1., Fra Angelico. 

" By many considered to be Raphael's grandest work."— Wood. 

" Without a rival in the history of painting." — Poetry of Christian Art. 

" This picture is the crown of all religio-symbolic painting." — Liibke. 

BightWall (5), over the window : Prudence, Fortitude, Modera- 
tion ; r. side, Gregory IX. ; 1. , Justinian. 

Wall of Exit (c) : *The School of Athens ; the portico of a Gre- 
cian temple, with 52 figures of the most eminent philosophers of 
Greece. 

In the centre are, r. , Aristotle with his Ethics ; 1. , Plato with 
his Timseus, pointing upward. In front, lying on the steps, is 
Diogenes. On the r., in the foreground, Archimedes (with the 
head of Bramante), tracing geometric figures on the pavement; 



STAN 



361 



near him, the young Duke of Mantua in blue ; Zoroaster with a 
globe, and Ptolemy crowned, addressing Raphael and Perugino. 
On the left of the picture, at the top of the steps, Socrates, bald, 




in conversation with Alcibiades, the warrior ; in the foreground 
at the centre, sitting figure of Heraclitus, supporting his head 
with his hand ; behind him, Anaxagoras with an open book, look- 



362 STAN 

ing at Pythagoras seated and writing in a book, resting on his 
knee ; behind him, at the extreme left crouches, Empedicles ; 
behind Anaxagoras stands the Duke d'Urbino in white. 

" These groups on the steps above and around the two philosophers never did 
and never could exist ; and it is for this very reason that they are so fine. The 
scene lies in a superior world, one which mortal eyes never beheld, a creation 
wholly of the artist's imagination. These figures belong to the same family as 
the divinities on the ceiling. You must remain before them full half a day. Once 
realize that they are walking and the scene strikes you as transcending all things 
here below. 

"The youth in a long white robe with angelic features ascends the steps like a 
meditative apparition. The other with curled locks bending over the geometrical 
diagram and his three companions alongside are divine. It is like a dream in the 
clouds . As with all the figures of an ecstatic vision, or in reveries, these may re- 
main in the same attitudes indefinitely. Time does not pass away with them. 
The old man in the red mantle and the figure regarding him, and the youth writ- 
ing might thus continue forever. All is well with them. Their being is complete : 
they appear at one of those moments which Faust indicates when he exclaims, 
' Stand, ye are perfect.' Their repose is eternal happiness." — Talne. . 

Above, are Philosophy, and the Study of the Globe ; Beneath, 
are Philosophy, Magicians, Siege of Syracuse, and the Death of 
Archimedes. 

Left Wall (d) : Par-nas-sus ; Apollo with Violin, and Muses ; 1. , 
Homer, Virgil, and Dante in a red robe. Below : r., Sappho ad- 
dressing Corinna and Petrarch ; 1. , Pindar and Horace. 

Above, are Poesy crowned, and Marsyas. 

Beneath : Alex, the Gt. placing Homer's Poems in the tomb of 
Achilles ; Augustus preventing the burning of the iEneid. 

6. *Third Stanza, op Raphael, He-li-o-dor' -us ; the second 
apartment painted by Raphael, 1511-1514, illustrating the miracu- 
lous conquest of the Church over her enemies. 

Entrance Wall (a) : Flight of Attila; the pope, on a white 
mule, calls on Peter and Paul in the clouds ior aid against Attila, 
whose army is terror-stricken. The Coliseum is seen in the 
background. Above : Jehovah appears to Noah. 

Might Wall (b) : *The Miracle of Bolsena, a doubting priest 
converted by the bleeding of the wafer ; r. , Julius II. 

" This picture is remarkable not only for its well-connected composition, but for 
its highly characteristic figures ; the courtly humility of the priests, the rude, 
hardy figures of the Swiss, the various ways in which the people manifest their 
sympathy, and above all the naivete of the chorister-boys, and of the youths who 
look over the enclosure of the choir ; all this is connected satisfactorily and natu- 
rally with the two principal personages. The coloring of this fresco, and of others 
of the series, has placed Raphael on a level with the masters of the Venetian 



STAT 



363 



school. High authorities are agreed in considering this and the other large works 
in this Stanze as the finest examples of fresco the art can boast." — Kugler. 
Above : The Sacrifice of Isaac. 

Wall of Exit (c) : Expulsion of Heliodorus from the Temple j 
Heliodorus, attempting- to seize the treasures of the temple, is 
pursued by avenging angels ; 1., Julius II. Above: Moses at the 
burning bush. 

Window Wall (d) : 1., Deliverance of Peter; over the window, 
Teter sleeping ; r. , he departs ; 1. , watchman awaking. Above : 
Jacob's Vision. 

7. Sala di Constantino : from designs by Raphael ; painted 
after his death, by Giulio Romano, F. Penni, and da Colle. The 
statement often made, that two of the figures on the long wall 
were painted by Raphael does not appear to be authenticated. 

Entrance Wall (a) : Baptism of Constantine, by F. Penni. Be- 
neath : scenes from the life of Constantine, by Romano. 

Long Wall (b) : Defeat of Maxentius by Constantine, by Ro- 
mano. Wall of Exit (c) : Address of Constantine to his Troops, 
by Romano. Window Wall (d) : The Donation of Rome to Syl- 
vester by Constantine. Ceiling : * Overthrow of Paganism. 

8. Door leading to Raphael's Loggie and the Pinacoteca. 
Statuary, Noted. 



iEs'chines, see ; antique, Mus., Naples. 

Antin'ous, see ; antique, Cap., Rome. 

Antin'ous, see ; Vatican Mtrcury. 

Apollo Belvedere, see ; antique, Vati- 
can. 

Apollo Saurok'tonos, antique. Louvre. 

Apollo, Stroganoff, antique, St. Peters- 
burg. 

Apostles, Thorwaldsen, Ch., Copen- 
hagen. 

Ariadne, see ; Dannecker, Frankfort. 

Ariadne, Sleeping, see ; antique, Vati- 
can. 

Augustus, Young, see; antique, Vati- 
can. 

Aure / lius, M., bronze eques., see ; an- 
tique, Cap. Hill, Rome. 

Balbus, bronze eques.; antique, Mus., 
Naples. 

Bavaria, Sckwanthaler, Munich. 

Cupid and Psyche, Canuva, Louvre, 
Paris. 

David, M. Angelo, Acad., Florence. 

Day and Night and Morning and Even- 
ing:, M. Angelo, see Medicean Chap., 
Florence. 

Diana, antique, Louvre. 

Di'one, antique, British Museum. 

Discobolus, see ; antique, after Nauki'- 
des, Vatican. 



Discobolus, see ; antique, after Myron, 

Vatican. 
Eros, see ; antique, after Praxiteles, 

Vatican. 
Faun ( i4 The Marble"), see; antique, 

after Praxiteles, Cap., Rome. 
Faun, Barberini, see; antique, Glyp., 

Munich. 
Flora, Farnese, see ; antique, Mus., 

Naples. 
Gladiator, Dying, see ; antique, Cap., 

Rome. 
Gladiator, Farnese, see ; antique, Mus., 

Naples. 
Gladiator, Fighting, see ; antique, Aga- 

sias, Louvre. 
Hebe, Canova, Roy. Gall., Berlin. 
Hercules, Farnese, see ; antique, Qly- 

con, Mus., Naples. 
Horses of St. Mark's, antique, Ven- 
ice. See St. Mark's. 
Horse Tamers, antique, Quirinal, Rome. 

See Castor. 
Juno Ludovisi. see ; antique, Polycle- 

tnsfi Lud. Villa, Rome. 
Jupiter, see ; antique, Vatican. 
Knife-Grinder, see ; antique, Tribune, 

Florence. 
Laocoiin, see; antique, Agesander and 

Sons, Vatican. 



STEE 



Villa, 
Cap. 



Venus Callipyge, see ; antique, Mus., 

Naples. 
Venus of Canova, Pitti Gallery. 
Venus of Canova, Borghese 

Rome. 
Venus of Capitol, see; antique, 

Mus., Rome. 
Venus of Capua, see ; antique, Mus., 

Naples. 
Venus of the Hermitage, antique, St. 

Petersburg. 
Venus of Cnidos, see ; antique, after 

Praxiteles, Vatican. 
Venus cle Medici, see ; antique, Cieo- 

?nenes, Uffizi, Florence. 
Venus de Milo, see ; antique, Louvre. 
Venus, the Towneley, antique, British 

Museum. 
Wrestlers, antique, Cephisod'otzis, Uf- 
fizi. 



Medici, Lorenzo and G-iulio, M. Angela, 

see Medicean Chap., Florence. 
Meleager, see ; antique, Vatican. 
Mercury, see ; John da Bologna, Acad., 

Florence. 
Mercury, see; antique, Cap., Rome. 
Mercury, see ; antique, Vatican. 
Mercury Resting, see ; antique, Mus., 

Naples. 
Minerva G-iustiniani, see ; antique, Vat- 
ican. 
Niobe, see ; antique, Uffizi. 
Praying Boy, antique, Bedas, Roy.Grail., 

Berlin. 
Psyche of Capua, see ; antique, Mus., 

Naples. 
Quoit-thrower ; see Discobolus. 
Slaves, M. Angelo, Louvre. 
Sophocles, antique, Lateran Mus., Rome. 
Tore Farnese, see ; antique, Apoilonius 

and Tauriscus, Mus., Naples. 

Steen, Jan (yahn stane), 1626-1679, b. at Leyden, Hoi. 
Chose his subjects generally from low life. His scenes are merry- 
makings, family feasts, weddings of ill-assorted couples, charla- 
tans, love-lorn maidens, and disorderly households. He enjoyed 
the ludicrous, especially in children, descending too frequently 
to the vulgar. His pictures display such a love of humor and 
such admirable coloring as to render some of them among the 
most attractive works of his School. Many of his pictures are of 
the highest merit and are to be found in all large collections. 
His masterpiece, the Representation of Human Life, is in the 
Mus. of The Hague. Some of his best are in England. 

Stefano Rot undo, S., -J- ml. s. of Coliseum. A circular 
building, 133 ft. indiam., supposed to have been " built on the 
site of an ancient circular building and to have belonged to the 
great victual market," erected in the time of Nero. It originally 
consisted of two concentric rows of granite columns, within an 
enclosing wall. Upon the walls is a series of horrible Martyr- 
doms, by Pomarancio and Tempesta. 

Stelvio Pass. See Alps. 

Stirling, Scot., a town of about 16,000 pop., 36 mis. n.w. 
from Edinburgh, for many centuries the seat of the Scottish 
Kings. In the Roman times a fort was established upon the 
nearly inaccessible height, which since has remained a military 
stronghold ; and in later times it became the residence of Scot- 
tish royalty. From 1300 to 1670 the history of Stirling is little 
less than that of Scotland. From the castle walls may be seen 
twelve sanguinary battlefields — among them those where the En- 



STOC 365 

glish suffered signal defeats by the Scots under Bruce and Wal- 
lace. 

The Castle was taken by Edward I. of Eng., 1304. Was occu- 
pied by Wallace, Bruce, Baliol, David II., James II., III., IV., 
V., and VI. James II. here assassinated in the Douglas room, 
the Earl of Douslas, whom he had invited to the Castle with the 
King's word of safe-conduct. The lifeless body was thrown from 
the window. James II. and James V. were born here ; James III. 
built the Parliament House, James V. the grotesque palace, and 
James VI. the chapel. 

James V. was here crowned ; Mary Queen of Scots was also 
crowned, and her son James VI. baptized in the Chapel. James 
VI., however, was crowned in the church of the town, on which 
occasion the coronation sermon was preached by John Knox. 

The Castle is now occupied as a barrack. The walls com- 
mand a prospect of almost unparalleled historic interest and 
natural beauty. 

Some d. stance to the north maybe seen " Heading Hill," 
where, in 1424, the Earl of Lennox, his two sons, and his son-in- 
law, the Duke of Albany, were beheaded. On the n.e., upon a 
hill, is the lofty Wallace Monument, 2~0 ft. in height, where the 
battle of Stirling was fought, 1297. 

The hospital on Broad Street was the residence of Argyle, who 
here entertained Prince Charles, afterward Charles II., by whom 
Argyle was executed. 

Stockholm {stake island), lat. 59° 30' ; Ion., 18°, is situated 
upon several islands, and abounds in the most charming scenery. 
In the happy combination of land and water, and in the abun- 
dance of delightful sites for public and private buildings, Stock- 
holm has hardly an equal in Europe. The city comprises the 
Old Town, upon Riddarholm Island, the site of the Royal Palace ; 
the Southern Suburb ; the Northern Suburb, upon which are the 
Pal. of the Crown Prince, the Rly. Station, the principal hotels, 
and the Museum; Kungsholmen, on the west; the Djiirgarden 
on the east, and several small islands. Tramways abound, as also 
innumerable small steam ferry-boats plying from Riddarholm to 
all portions of the city and suburbs. 

Principal Places of Interest are the Royal Palace, the Church 
of St. Nicholas, Riddarholm's Church, the Houses of Parliament, 
the National Museum, Acad, of Science, and the House of Swe» 
denborg. Environs, The Deer Park and Drottningholm. 



366 STOC 

The Royal Palace. Among the apartments of greatest in- 
terest are the Throne Room, 145 ft. in length ; the Royal Chapel ; 
the Hall of Pillars, in white and gold ; the Victoria Hall ; the 
King's Studio, with a collection of family portraits ; the Chapter 
Rooms of the Swedish Royal Orders ; the State Apartments ; the 
Queen's Apartments ; and the Royal Library. 

The Church op St. Nicholas, or Storkyrkan, 1264, is noted 
as the place of the coronation of Swedish Sovereigns, and of the 
opening of the Diet, Jan. 15, and the closing, May 15, each year. 
In front of the ch. is an obelisk 100 ft. high, in commemoration 
of the wars with Russia, 1788-90. 

**Riddakholm's Church, the "Westminster" of Sweden; 
open daily, 1-3 ; noticeable for its open-work spire of iron, 300 ft. 
in height ; contains the tombs of Gustavus Adolphus, Gustavus 
III., Chas. XIII., Chas. XIV. and their Queens ; Oscar I.; Chas. 
XV. and Queen ; Chas. X., XI., XII., and Fred. I. On the walls 
are the shields of the Knights of the Royal Order of the Sera- 
phim ; and many military relics. 

The National Museum, a commanding structure on the 
Quay, opposite the Royal Palace, contains extensive collections of 
antiquities, and works of art. The Picture Gallery comprises a 
large number of works mostly modern. 

The House oe Swedenuorg, in the Southern Suburb, re- 
mains in nearly the same condition as when occupied by the 
great theologian. 

*The Deer Park, Djurgarden, is an extensive and delightful 
park to the east of the city, and may be reached by steam ferry 
or tramway. It is the principal pleasure resort from the city, 
and whether seeking natural or artificial beauty of landscape, 
leaves little to be desired. 

*Drottningholm, the Queen's Island ; the summer residence 
of the Royal family, is one of the largest royal palaces of Sweden. 
It is charmingly situated on the shore of Lake Ma'-lar, and may 
be reached by a romantic sail of 30 minutes on one of the 
small lake steamers. The boats leave Riddarholm nearly every 
hour in summer. Permission for entrance obtained at the Pal- 
ace. 

Routes: To Copenhagen, by rail to Malmo (inal'-may), 15 hrs. ; $13; $10. 
From Malmo to Copenhagen, by steamer, 1 hour. To Christiania, 16 hrs., 
$12 ; $9. 50. To St. Petersburg, by steamer direct, about 2 days, or via the 
coast of Finland touching at the Aland Islands, and along the coast of Finland, 
at Abo, Helsingfors, Hango, and Viborg. about $ 10. 



STRA 367 

The steamer usually rests at night at these cities, thus afford- 
ing time for a brief glance at Finland life. 

This route, bringing the traveller almost within the Polar Cir- 
cle, as it threads its way mid its thousands of barren, desolate 
islands, opens to him more than any other travelled route upon 
the globe a glimpse of those wild and mysterious powers that lie 
hidden in the snowy bosom of the North. It is a fitting prepara- 
tion for that stranger, more weird and romantic life that awaits 
one at St. Petersburg. 

* Strand, London, extending from Fleet Street to Charing 
Cross, so named from its (formerly) lying along the bank of the 
Thames. It was separated from Fleet Street by Temple Bar or 
Gate, the Strand being outside the city walls. 

Commencing at the site of Temple Bar, now removed, and 
going westward, n. the new Law Courts ; in the centre of the 
street St. Clement Danes church, designed by Wren, 1688; 
contains the. tomb of Harold Harefoot, son of Canute, and other 
Danes ; Dr. Sam. Johnson worshipped here 20 years ; pew 
marked by a tablet, n. Wych St. , for Drury Lane ; Essex, Arun- 
del, Norfolk, and Surrey Streets indicate the mansions of the 
Earls in time of Queen Elizabeth. Peter the Gt. resided in Nor- 
folk St., last ho. s. side. Beyond Norfolk St., s., is Strand 
Theatre ; n. Church of St. Mary le Strand. Becket was rector of 
this parish, s., King's College, Somerset House, once occupied 
by Anne, queen of Jas. I., and Henrietta Maria, queen of Ch. I., 
and Cath. , queen of Ch. II.; now occupied by the Government; 
n., Gaiety Theatre ; s., Wellington St., for Waterloo Bridge ; n., 
Lyceum Theatre, Exeter Hall ; 2 sqrs. n. is Covent Garden Mkt. , 
Southampton St.; n. , Vaudeville Theatre, Roy. Adelphi Theatre; 
s., opp. King Wm. St., was the Durham Ho., where Sir Walter 
Raleigh lived ; s., near the rly. station, is the site of York Ho., 
birthplace of Lord Bacon ; s. , Charing Cross Railway Sta. ; in 
front of which is a *copy of Queen Eleanor's Cross, Charing 
Cross. See Charing Cross. 

Strassburg, Ger.; Strasbourg, Fi\; on the 111, 2 mis. from 
the Rhine, in the midst of a broad, fertile plain, strongly forti- 
fied. Pop. nearly 95,000. 

** The Cathedral was founded by Clovis, 510 ; destroyed by 
lightning, 1007 ; present edifice commenced, 1015. The faQade 
was designed by Erwin of Steinbach, and his daughter, Sabina, 

Contains, in niches above, equestrian statue of Clovis, Dago- 



368 STRA 

bert, Rudolph, and (recent) Louis XIV. Length of building, ovei 
370 ft.; breadth, 140 ft.; height of nave, 100 ft. 

The Astronomical Clock in the s. transept with fanciful attach- 
ments for striking the hours, representing Time, Youth, Age, the 
Apostles, etc., is an object of interest, especially at 12 o'clock, 
when the principal exhibit occurs. 

* The Tower rises 249 ft. from the platform, which being 216 
ft. from the pavement, gives a total height of 4C5 ft., being 
one of the highest structures in Europe. Tickets for the ascent 
are obtained at the office on the s. side of the building, outside. 
Tne view, though extensive, hardly compensates for the labor of 
the ascent. 

Stratford-on-A'von,^;^. Pop. about 4,000. * Shakespeare's 
House, admission, 6d. ; Museum, 6d. His birthplace was pur- 
chased by the Government, 1847, and restored as nearly as pos- 
sible to its original appearance ; situated in the centre of the 
town, on Henley St., ^ml from the rly. station. 

New Place, the house which Shakespeare built, and where he 
died, is about midway to the church, and on the direct route. 
Of this structure nothing remains excepting some portions of 
the foundations. Opp. is the Guild Chapel, or Chapel of the 
Holy Cross, 1269; chancel rebuilt about 1450. Adjoining is 
Guild Hall, where Shakespeare was a pupil ; the second story 
has undergone many changes. 

* The Church (6d.), where the poet is entombed, is J ml. s. 
from New Place, on the bank of the A -von, amid a group of 
lime trees. The tomb is beneath the chancel, and beside it 
those of his wife, two daughters, and others of the family. A 
bust above, dates to within a few years of his death. Note the 
carvings of the seats of the choir stalls. 

[Should the church be closed, the Parish Clerk may be found 
on the opp. side of the street, second door to the 1. from the cor- 
ner.] See Route 9, Note 13. 

Sulpice, St. (sule-pees), ch., Paris, on the s. bank of the 
Seine, near the Palais de Luxembourg. Erected, 1G46 ; 460 ft. 
by 183 ft.; towers dissimilar, in obedience to an order said to 
have been given by the abps. that only Notre Dame should have 
two similar towers ; height, 224 ft. Said to have the finest organ 
in Paris. 

Tapestries, Raphael's, in Berlin, Dresden, and the Vati- 
can. See Cartoons of Raphael. 



TENI 309 

Teniers, David (ten'-yerz or tane'-yea), the Father, 1582- 
1G49, b. Antwerp; genre, myth., and landscape painter. 

Principal Works: Cassel, 216; Dresd., 90 7-8 -9-1 0-1 1-1 2-13 ; Dul., 60 ; Her- 
mit, 669, 670 ; Nat. Gall., 950-1 ; Uffi., 705. 

Teniers, David, Yr., 1610-1690, b. Antwerp. The most 
illustrious genre painter of Belgium. He excels especially in 
peasant life, fairs, and festivals. His rustic scenes are admir- 
able on account of their life-like tone, but still more so from their 
harmonious management of light and shade, and the effective use 
of contrasts. In this respect he had few equals. He often 
adopted a silvery color. His works, which number upward of 
900, are found in all large galleries, and command the highest 
prices. 

Principal Works: Amst. Hoop, 115-6-7; Van Hill., The Drummer; Ant., 
344-6-7-8; Belv., nine; Berlin, 853-6-7-9, 866B, 866C ; Brims., 582; Brass., 
324, 325, 449, 450 ; Cassel, 404-5-6-7-8; Corsi., III., 55? ; Dresd., 915-19-23-26- 
28-29-31-34; Edinb., 60, 116, 119, 139, 185; Prank., 134, 135; Hague, 223, Steen 
Coll., III., The Works of Mercy. Hermit., 672-3-4-5-7, 683-4-5-6-S-9, 690-1-2- 
3-4-5-6-7-9, 700-6-7-10; Louvre, 512-3-4-5-6-8, 520; Plem. Sch., 124, 128, 133; 
Lyons, 117 ; Madrid, 1721-4-6, 1730-2-3, 1744-5, 1754-5, and others— in all, 60 , 
Munich, 299, 840, 844, 1125 ; Nat. Gall., 155, 242, 805, 817, 857-8-9, 860-1-2-3, 
952; Pesth, XV., 530; Turin, 364, 423, 428; Vienna, Roy. Acad., many small 
works ; Chud., 234, 236, 286. 

Terburg, Gerard, Ter Borc7i, 1608-1681, b. at Zwolle, 
IIol. One of the best genre painters of the Dutch School. Un- 
like his great contemporary, Teniers, he took his subjects from 
high life. In the representation of elegant costumes, especially 
of white satin, his effects are most remarkable. " He attained 
a high reputation as a portrait painter, though, from his par- 
tiality for silks and satins, he was called a ' stuff ' painter. He 
presents to us elegant and peaceful domestic scenes, occasionally 
clouded by some untoward interruption to a love affair." His 
works number but about 100, and are held at enormous prices ; 
his masterpiece was recently purchased at $45,000. 

" Terburg may be considered as the creator of what are called conversation 
pieces. None can be compared to him in the magical harmony of his silver tones, 
and in the gradations of his aerial perspective.' 1 — Worman. 

Principal Works: Amst. Hoop., 118; Van Hill., two; Ant., 344-6-7-8 
Berlin, 7tfl-A-B-C-D-E-F, 793 ; Cassel, 384, 385; Dresd., 1242-3-4-5; Frank, 
235; Hague, two ; Hermit., 871-2-3-4-5-6; Liecht., 230-2, 2d floor, VI. 562-3 
Louvre, 526-7-8, 145; Lyons, 115: Munich, 243, 1029, 1062; Nat. Gall., 864, 89Q 
Rijks, 394-5-6-7 ; Uffi., 958. 

Tete Noire (tate-nwar), Switz. See Route 37, Note 6. 
*Thames, The (temz), London, from the Tower toBattersea. 
24 



370 



THAM 



Boats from London Bridge, up, about every 5 minutes ; down, 
about every 10 minutes. 

Commencing at the Tower and going up stream ; n. , the Tower, 
surrounded by a wall and surmounted by a sq. white tower with 
a turret at each corner ; n., the Custom House ; Coal Exchange; 
Billingsgate ; the Monument of the Great Fire, 1666, (dist.). 

London Bridge, stone, 928 ft., 5 -arches, 1825, cost $12,000,000; 
n. , Fishmongers' Hall ; s. , St. Saviour's Ch. , sq. tower ; site of 
Winchester Pal., and of Globe Theatre; Barclay's Brewery ; n., 
Cannon st. rly. Station. 
JS. E. Railway Bridge, iron, 5 arches, on 16 cylindric piers. 
Southward Bridge, 708 ft., iron, 3 arches, cost $4,000,000, 1815 ; 
n. , Vintner's Hall ; Queenhithe ; Ch. of St. Michael's ; Ch. of St. 
Bennet ; Large Flour Mill ; site of Blackfriars Theatre. 
Lond., Chat., and Dover Railway Bridge and Station. 
Blackfriars Bridge, 1272 ft., iron, 5 arches, on stone piers, 
1864; n. , Victoria Embankment to Westminster, which see; s., 
Christ Ch. , dist.; n., St. Bride's Ch., dist.; site of Salisbury Ho.; 
Whitefriars ; Temple Buildings, red ; Temp. Gardens ; Temp. 

Ch. ; Middle Temp. Hall ; Temp. 
Pier ; Site of Arundel Ho. ; King's 
College ; Somerset Ho. ; s. , tall 
Shot Tower. 

* Waterloo Bridge, 1380 ft., 9 
arches, 1811, cost $5,000,000. 

s. , Waterloo Railway Sta. ; Iron 
Foundries ; Shot Tower ; n. , Adel- 
phi Terrace (Garrick d. in centre 
ho. ) ; Cleopatra's Needle (see Vic- 
toria Embank.)', s. , Lumber Yard; 
n. , Watergate of Duke of Bucking- 
ham's Seat ; s. , Lion Brewery ; n., 
York Ho. 

Charing Cross, or Hungerford 
Bridge, rly. and foot; iron, 8 
spans, 1863. 

n. , Charing Cross Pier ; Under- 
ground andS.E. PJy. Stations; s. , Government Stores; n., White- 
hall Stairs ; Whitehall Gardens ; Montague House ; Richmond 
Terrace. 

Westminster Bridge, 1160 ft., iron, 7 arches, 1856; n„ Parlia- 




Thorn Extractor — Florence. 



THOR 



371 



ment House, see ; and Westminster Abbey ; s. , St. Thomas' 
Hospital; Albert Embankment; Lollard's Tower; Lambeth 
Palace. 

Lambeth Bridge, suspension, of 3 spans, 280 ft. each, 1862 ; s., 
Lambeth Old Ch. ; Tile Furnaces ; n., Millbank Penitentiary ; s., 
Vauxhall rly. sta. ; site of Vauxhall Gardens. 

Vauxhall Bridge, 798 ft., iron, 9 arches, 1811 ; n., Ch. of Holy 
Trinity. 

Railway Bridge. Chelsea Bridge, suspension, 1858; n., Bar- 
racks ; Chelsea Hospital ; Terraces ; s. , Battersea Park and Gar- 
dens ; n. , Chelsea Church. 

Albert Bridge, n. , site of Sir Thos. More's House. 

Battersea Bridge, numerous arches; s., Bat. Ch., burial-place 
of Lord Bolingbroke ; n., House of Turner, the painter, middle 
cottage of three, near the Cremorne Pier. Cremorne Gardens. 

Thorn Extractor, called also Shepherd Martius, a charm- 
ing antique sculpture of a lad seated and endeavoring to extract 
a thorn from his foot. Statues : mar- 
ble, Uffizi, s. corridor ; and the Pal. of 
the Conserv., bronze, Room of bronzes. 

Thorwaldsen, Albert (tor-vald- 
sen), 1770-1844, b. at Copenhagen, 
Den. Early indicating talent, he was 
gratuitously educated at the Copen- 
hagen Academy of Art, and afterward 
granted a three years' travelling stu- 
dentship, wherewith he went to Rome. 
His early works were Jason, Achilles, 
Mars, Adonis, and other classical sub- 
jects. A commission from an English 
gentleman for his Jason, in marble, se- 
cured his financial independence, and 
he remained in Rome 23 years. Return- 
ing to Copenhagen, he remained but a 
single year, when he again went to 
Rome, remaining now 18 years. Again 
visiting hia native city, he was received 
with the most distinguished honor. The ™o™aia S en-Cope?ihagen. 
Thorwaldsen Museum was erected by public subscription to con- 
tain his works. 

Among his most celebrated works are Christ and the Twelve 




372 



THUN 



Apostles in the Fruekirk, Copenhagen ; Alexander, and his well-' 
known Day and Night. His works number over 200. He is en- 
tombed in the Court of the Thorwaldsen Mus., Copenhagen, in 
the midst of the immortal creations of his own genius. 

Thun (toon), Switz., on the Aare, f ml. below the lake of 
Thun; pop. about 5,000. Noted for little besides its peculiar 
architecture, the houses having a one-story projection toward the 
street upon which are the sidewalks. 

Tiberius. Rom. Emp., son of Claudius, b. B.C. 42. On the 
death of his father, his mother married Augustus, by whom 
Tiberius was adopted as his successor. Married Julia, daughter 
of Augustus. Came to the throne, a.d. 14; reigned 13 years, 
when he was smothered by order of the chief of the Preetorian 
Guard. Palace of Tiberius, see Palatine Sill. 
Tintoretto, il, Jacopo Robusti, 1518-1594, b. at Venice. 

The pupil of Titian, he sought 
to unite the drawing of Angelo 
with the coloring of his master; 
and by uncompromising study 
came to the rank of one of 
the greatest masters of light 
and shade, as he certainly was 
one of the most vigorous paint- 
ers in the history of art. He 
worked with great rapidity, 
covering an astonishing amount 
of surface. His Paradise in the 
Doges' Palace, is the largest oil- 
painting ever executed, being 
70 feet in length and 40 in width, and containing over 400 figures. 

" Along with much that was grand, there was in him a certain coarseness and 
barbarism of feeling. In his enormous works, which in square feet of painted 
surface amount to ten times as much as the fruit of Titian's century of life, one 
begins to surmise that he undertook such things like a contractor and executed as 
an im pro visor." — Burckhardt. 

"Nevertheless, he is to be reckoned among the boldest and most assured 
painters known to the history of art. His pictures are absolutely astounding as 
to number and extent." — Lubke. 

" A more vigorous and more fecund artistic temperament is not to be found in 
the world. . . . No painting, in my judgment, surpasses or perhaps equals 
his St. Mark, in the Academy ; at all events, no painting has made an equal im- 
pression on my mind. . . . Veritably, we do not know him in Europe. The 
European galleries contain scarcely anything by him, the few examples they have 




Bacchus and Ariadne — Tintoretto. 



TITI 



373 



acquired being small or of minor importance. . . . The truth is, no man like 
him is or has been seen. ... A furnace like this, so ardent, so overflowing, 
with such outbursts and flaming coruscations, with such an immense jet of 
sparks, with such luminous flashes, so sudden, so multiplied, with such a surpris- 
ing and constant volume 
of smoke and flame, has 
never been encountered 
here below." — Taine. 

Pbincipal Works : 
Augsburg., 265 ; Belv., 
four; Berlin, 300, 310, 
316, 160A; Brera., 213, 
226; Bruss., 281, 282; 
Cap., 26, 1C8, 114, 176, 
124 ? ; Cassel, 70 ; Colon., 
a portrait group ; Dresd., 
287-8-9, 290-3? Doges' 
Pal., * Paradise and sev- 
eral others; Edinb., 91, 
114?, 214, 310; Hamp. 
Ct., 69, 77, 91 ? ; Hermit., 
132-3-4-5, and several 
portraits ; Liverp., 90-1- 
2A?; Louvre, 337, 19; 
Lucca, 15 ; Madrid, 410, 
411,412,413,415,419,422, 
428, 429, 434, in all 33 ; 

Modena, seven; Munich, 1223; Pesth, IV. 145, 157; Pitti, 3, 65, 131, 248, 617, 
638 ; Venice, 25, 45, 51, 503, 56S, 569, 575, and Scu. di San Rocco contains a large 
collection ; Vienna, Chud., 54. 

Titian (tish-e-an), Titien, Tiztano Vecellio, 1477-1576, 
b. at Capo del Cadore, Italy. Pupil of Gen. and Gio. Bellini; 
afterward, of Giorgione, under whose influence he abandoned the 

antique and adopted the 



modern. He rose rapidly 
to the highest rank as a 
master of light, shade, and 
color. Among his best 
known works are the Venus- 
es of the Uffizi and Dresden 
galleries. 

"The carnation hues of youth 
and beauty, and the soft undulat- 
ing outlines of the female form, 
are painted as none but Titian 
could paint them ; and the effect is so dazzling and striking that we can hardlj 
persuade ourselves that it was not produced by some process now lost to the pen 
oil, or by the use of colors that modern chemistry cannot replace."— Hillard. 





Venus — Titian. 



374 



TITU 



His celebrated St. Peter Martyr, which was ranked next to 
Raphael's Transfiguration, and Domenichino's St. Jerome, was 
lost in the conflagration of San Giovanni e Paolo, Venice, 
1867. 

Living to the extreme age of ninety-nine, and wielding his 
brush to the last, his works are innumerable and to be found in 
every important collection. Venice possesses his first, his last, 
and his most noted work — all in the Academy of Fine Arts. The 
Madrid Gallery has 43 Titians ; the Louvre exceeding 20. He is 
entombed in the church of the Frari, Venice. 

Principal Works: Ant., 357; Belv., sixteen; Berlin, 161-3-6, also several 
portraits ; Borg., X. 2, 16, 21, XI. 3 ? ; Brera, 243-4-5 ; Cassel, 23 ? 25 ; Colon., 
III. Portrait, Long Gal., Holy Fam.? ; Corsi., III. 50 ? IV. 21, 28, VIII. 30 ? IX. 
36, 55; Darm., 519? 5*20; Doges 1 Pal., Doge Grimani; Doria, V. 22? Cor. I. 14, 
Cor. 11.26? 52, 56; Dresd., 222-3-4-5-6-7-8-9, 230: Edinb., 378, 145, 71? 116? 
374 ?; Frank.,23 ? ; Hampton Ct., 116, 122, 149, 113? 364 ? ; Hermit., 93-4 ?-5 6-8-9, 
100-2-4 ?-5; Liverp., 89?; Louvre, 439, 440-1-2-3-5-6-9, 450-1-2-3-4-5 ?-6 ; 
Madrid, 450-1-2-3-4-5-6-7-8-9, 461-2-3-4-7-8-9. 470-4-5-7, and others, 43 in all. 
Mnnich, 467, 489 ? 496, 524, 587, 591, 1238, 1329 ; Naples, Ven. Sen., 20, Sala di 
Correg., 5, 8, 11, Sala Grande, 36; Nat. Gall., 4, 34-5, 270, 635-6; Pesth, IV. 158; 
Pitti, 17, IS, 54, 67, 80, 92, 110? 201, 423?; Sciarra, two, one doubtful; Uffi., 590, 
599, 605-9-14-18, 625, 626, 633, 648, 1002, 1108, 1116, 1117 ; Vat., Madonna ; Venice, 
24, 33, 366, 487 ; Verona, 52. 

Tituc. FlavlusSablnus Vespasianus. Roman Emperor, 
son of Emperor Vespasian, b. a.d. 40. Served in Britain and 

in Germany, and under his father in the 
Jewish wars. Upon the proclamation of 
his father as Emperor, Titus remained 
and concluded the conquest of Jerusa- 
lem. Returning the following year, he 
was honored with a Triumph. He suc- 
ceeded his father, a. d. 79. He reigned 
but two years, having, as it is supposed, 
been poisoned by his brother Domitian. 
*Titus, Arch of, Rome, on the Via 
Sacra, between the Forum and the 
Coliseum. Erected by the Senate, a.d. 
81, to Titus, in honor of his conquest 
of Jerusalem ; inscribed " Senatus Pop- 
ulus que Romanus Divo Tito Divi Vespasiani Filio Vespasiano Au- 
gusto." One of the most interesting ruins of Rome. The bas- 
reliefs on the inside of the Arch represent Titus crowned by Vic- 
tory, in a triumphal procession with various trophies from th« 




Titus — Naples. 



TIVO 375 

temple of Jerusalem, among which may still be seen the golden 
candlestick, the silver trumpets, and the golden table. 

" Over the half-worn pavement and beneath this Arch the Roman armies had 
trodden in their outward march, to fight battles a world's width away. Return- 
ing victorious with royal captives and inestimable spoil, a Roman triumph, that 
most goi-geous pageant of earthly pride, has streamed and flaunted in hundred- 
fold succession over these same flagstones, and through this yet stalwart arch- 
way." — Hawthorne. 

" The Jewish trophies are sculptured in bas-relief on the inside of the Arch, 
beneath the vaulting. And, at this day, the Jew refuses to walk beneath them, 
but creeps stealthily by the side with downcast eyes or countenance averted." — 
Merivaie. 

" The procession of the Popes, going to the Lateran for their solemn installa- 
tion, used to halt beside the Arch of Titus while a Jew presented a copy of the 
Pentateuch with a humble oath of fealty." — Hare. 

TITUS, BATHS OF. See Trajan, Baths of. "It is very extraordinary, that, 
notwithstanding these ruins were verified as long ago as 1818 as being the remains 
of the Thermae of Trajan, all the guide-books continue to call them the Baths of 
Titus."— £/«*&. Wood. 

Tivoli (tiv'-o-ly), 18 mis. from Rome. The extensive ruins of 
the Villa of Hadrian, which is said by antiquaries to have been 8 
or 10 mis. in circumference, render this one of the most interest- 
ing localities in the vicinity of Rome. 

**The Tower, London. 

On the n. bank of the Thames, below London Bridge. Ad- 
mission daily, 10-4 (1 sh.) ; M. and Sat. free. 

The Tower is an extensive fortified palace, commenced by Wm. 
the Conqueror in 1080, and subsequently enlarged, until at pres- 
ent it covers about 12 acres. 

The Outer Ward embraces 4 towers : the Middle, the Byward, 
the Traitors' Gate, and the Cradle Tower. 

The Inner Ward embraces 12 towers : the Bloody, the Bell, 
Beauchamp, Devereux, the Flint, Bowyer, the Brick, the Jewel, 
the Constable, Broad Arrow, Salt, and Record. 

The Tower is entered from the side of Tower Hill, by the 
Lions' Gate, on the w. side, where the lions and King's beasts 
were formerly kept. Passing under two Gothic gateways, through 
the Middle (A) and Byward (B) Towers and over the moat, now 
a garden, the visitor enters the Outer Bail, and perceives before 
him the wall of the Inner Bail, 30 to 40 ft. high ; thence beneath 
the portcullis of the Bloody Tower (B), he enters the Inner Bail. 
Visitors are usually first directed to the Horse Armory (R), 



376 



TOWE 



150 ft. by 33, containing 22 equestrian figures, clad in the armoi 
of the time from Edward I. to James II. 

1 Comp. — Weapons, etc. , from the battle of Hastings ; suit of 
the time of Edward I. 

2 Comp. — Arms of the War of the Roses, and battles of Agin- 
court and Poictiers ; suit of the time of Henry VI. to Edward IV. 



[Tower mil.] 




A. The Middle Tower. 

B. The Byward Tower. 

C. The Traitors 1 Gate. 

D. The Cradle Tower. 

E. The Bloody Tower. 
P. The Bell Tower. 

G. The Beauchamp Tower. 



The Tower of London. 

H. The Devereux Tower. 
I. The Flint Tower. 
J. The Bowyer Tower. 
K. The Brick Tower. 
L. The Jewel Tower. 
M. The Constable Tower. 
N. The Broad Arrow T'r. 



O. The Salt Tower. 
P. The Record Tower. 
Q. The White Tower. 
R. The Armories. 
S. Site of The Scaffold. 
T. St. Peter's Chapel. 



3 Comp. — With nine arches; the Tudor colors, green and 
white ; armor of the reigns of Henry VIII. and Elizabeth ; suit 
of Damaskeened armor worn by Henry VIII. 

4 Comp. — With eight arches ; Stuart colors, yellow and red ; 
suit of the time of James I. 

From the Horse Armory a short staircase leads to a compart- 
ment filled with Oriental Arms. 

Queen Elizabeth's Armory. — Passing up the stairs, through 
the immense walls, the visitor enters the White Tower. On the 
r. is the prison of Sir Walter Raleigh. In the centre, instruments 
of torture ; the block on which Lovat, Kilmarnock, and Bal- 
merino were executed, 1745 ; the axe, the iron collar of torment, 
the cravat, thumb-screw, etc. 

In the White Tower (Q) is the Chapel of St. John, one of the 
oldest and best preserved specimens of Early Norman architec* 



TOWE 377 

ture in Great Britain. At the foot of these stairs the bones of 
the murdered princes were found. 

In another part of the Tower are 

**The Crown Jewels. — First kept in the Tower in the reign 
of Henry III. , 1216. During the confusion which prevailed after 
the death of Charles I., all the Royal ornaments, and that por- 
tion of the Regalia which was kept in Westminster Abbey, was 
scattered and sold. After the Restoration these portions were 
replaced, retaining the ancient names and styles. The jewels are 
now valued at $15,000,000. The collection is surmounted by the 
crown of Her Majesty, the Queen. 

St. Edward's Grown has the familiar form represented in the 
royal arms, and on the coins of the realm. The Prince of Wales' 
Crown is of pure gold, unadorned with jewels. It is placed be- 
fore his seat in the House of Lords. The Ancient Queen's Grown 
is used at the coronation for the Queen Consort. TJie Queen's 
Diadem was made for the consort of James II. 

St. Edward's Staff is of beaten gold, 4 ft. 7 in. in length. 

The Royal Sceptre, or Sceptre with the Cross, is placed in the 
right hand of the Sovereign, at the coronation, by the Archbishop 
of Canterbury. 

The Bod of Equity, or Sceptre of the Dove, is placed in the left 
hand of the Sovereign at the coronation. 

The Queen's Sceptre, somewhat smaller than the others, is 
adorned with precious stones. 

The Curtana, or pointless sword of mercy ; the swords of Jus- 
tice, temporal and ecclesiastical, are borne by the sovereigns at 
coronation. 

The Coronation Bracelets, the Royal Spurs, the Anointing Ves- 
sel and Spoon, are all used at coronations. The Spoon is sup- 
posed to be the sole relic of the Ancient Regalia. 

The Baptismal Font is used at the christening of royal children. 

The Prison, in the Beauchamp Tower (C). 

Among the eminent persons imprisoned here were Wallace, 
Mortimer, King John of France, Anne Boleyn, Catharine How- 
ard, Lady Jane Gray, Cranmer, Raleigh, Laud, Vane, the Seven 
Bishops, and Walpole. 

In the Bowyer Tower (J) the Duke of Clarence was drowned 
in a butt of Malmsey. 

In the Bell Tower (F) Guy Fawkes was examined by torture^ 
and Queen Elizabeth imprisoned. 



378 TRAF 

In the Court is shown the place of execution (S) of Anne Bo 
leyn, Catherine Howard, Lady Rocheford, and Lady Jane Grey. 

*St. Peter's Chapel (T), in which rest the remains of many 
of these unfortunate victims, is adjacent. Here were buried 
Queen Anne Boleyn ; Queen Catherine Howard ; Sir Thomas 
More ; Thomas Cromwell ; Earl of Essex ; Margaret, Countess 
of Shrewsbury ; Lord Admiral Somerset ; his brother, the Pro- 
tector ; Lady Jane Grey and her husband, and many others. 

Macaulay remarks that there is no sadder spot on earth than 
this little cemetery. 

Tower Hill. — Directly above the entrance to the Tower, is a 
small park enclosed with an iron fence. This is Tower Hill, 
where those state executions took place which did not occur 
within the Tower walls. The scaffold stood near the centre of 
the present enclosure. Here perished Sir Thomas More, Bp. 
Fisher, Henry Howard, Somerset, Lord Guilford Dudley, Alger- 
non Sidney, Lords Kilmarnock, Balmerino, and others ; 16 in aH, 
the last being Lord Lovat, 1747. 

Trafalgar Square, and its immediate vicinity. Standing 
near the National Gallery, on the 1. , is the bronze equestrian statue 
of George IV., by Chantrey. In front is the Nelson Column, of 
Portland stone, 145 ft. in height, surmounted by a statue of Nel- 
son, 17 ft. in height. Upon the pedestal are reliefs in bronze 
made from cannon taken from the French. Bas-reliefs : Death 
of Nelson, Battle of the Nile, of Copenhagen, and of St. Vincent. 

The four colossal Lions in bronze upon the corners are from 
models by Landseer. On the r. of the Column is the statue of 
Sir Charles Napier ; on the 1. , Gen. Havelock. 

Statue of Charles 1. Directly in front of the Nelson Column in 
the street stands the statue of Charles I. , cast by Le Sueur, pupil 
of John da Bologna, in 1633. In the Civil War, Parliament sold 
it to a brazier, with strict orders for its destruction, but the artisan 
buried the statue, producing some other fragments as evidence of 
his compliance with their orders. After the Restoration it came 
to light again and was set up in its present position, 1676. See 
Charing Cross. 

Trajan, M. Ulpius, Rom. Emp., b. near Seville, Spain, 
A.D. 52. Served in the army in Germany and the East; was 
consul in 91 ; was adopted by Nerva and came to the throne in 
A.D. 98. Reigned 19 years with great success ; was honored with 
two triumphs ; built extensive roads throughout the Empire ; es- 



TRAJ 379 

tablished libraries at Rome; and constructed the Forum Tra- 
janum, with the Column of Trajan. 

*Trajan's Column in Trajan's Forum; erected a.d. 114, 
by the Senate, in honor of the successful campaigns of the Em- 
peror. It consists of 34 blocks of marble, covered with a series 
of bas-reliefs winding about the shaft from base to capital. The 
number of figures is not less than 2,500, not including the horses 
and cattle, two feet in height in the lower courses, increasing to 
4 ft. at the summit. This column has, for centuries, been re- 
garded as a masterpiece of historic architecture, worthy alike of 
the great sculptor, Apollodorus, and of the great Emperor whose 
ashes rest beneath. Formerly a colossal gilt statue of Trajan 
surmounted the column ; but Pope Sixtus V. replaced it by a 
statue of St. Peter, 11 ft. high. 

* Trajan's Forum. Prior to the time of Trajan, a narrow 
ridge extended from the Quirinal Hill across to the Capitoline. 
Trajan removed the ridge, the summit of which was of the height 
of the column, and converted the space into a Forum, A.D. 114, 
under the direction of Apollodorus. It included the Basilica 
Ulpia, a Triumphal Arch, a Column, and a Temple. Only a por- 
tion of the Forum has been excavated, the remainder being jet 
under the streets and buildings. The Basilica was surrounded by 
a double range of granite columns, 50 ft. high. 

**Transfiguration, The, by Raphael, in the Vatican. 
In the middle : above, Christ, with Moses and Elias on either 
hand, also SS. Stephen and Lawrence kneeling ; below, on the 
r., a demoniac lad with his parents, who are appealing to the 
disciples on the 1. for relief. The disciples are pointing above to 
the Saviour as the only hope of aid. 

This was the last work of Raphael, of which he had completed 
only the upper part at his death. The lower part was painted by 
Giulio Romano from Raphael's designs. 

At Raphael's death this picture was hung over his bed as he 
lay in state, and carried in procession at his funeral. 

It is generally regarded as being the first painting in the 
world, although the double scene on one canvas has been severely 

criticised. 

" And when all beheld 
Him where he lay, how changed from yesterday — 
Him in that hour cut off, and at his head 
His last great work ; when, entering in, they look'd, 
Now on the dead, then on that masterpiece — 



380 TRAN 

Now on his face, lifeless and colorless, 

Then on those forms divine that lived and breathed, 

And would live on for ages — all were moved, 

And sighs burst forth and loudest lamentations." — Rogers. 

" Two entirely different scenes are combined in the picture— a piece of audacity 
not to be recommended to everyone — it only occurred here, and for this end. Be- 
low the mountain, are the people who have brought the possessed boy, and the 
disciples, puzzled, compassionate, excited, even looking for help in the book, and 
earnestly pointing up to the mountain whither their master had gone ; the pos- 
sessed one himself especially remarkable as one of the few forms from the realms 
of darkness produced by Raphael, and which with the most horrible expression, 
yet showed so strikingly his lofty moderation ; the woman lamenting on her knees 
in front is, as it were, a reflection of the whole incident." — Burckhardt. 

"It is somewhat strange to see the whole picture of the Transfiguration — in- 
cluding the three apostles, prostrate on the mount, shading their dazzled senses 
from the insufferable brightness — occupying only a small part of the top of the 
canvas, and the principal field filled with a totally distinct and certainly unequalled 
picture, that of the demoniac boy, whom our Saviour cured on coming down from 
the mount, after his transfiguration. This was done in compliance with the 
orders of the monks of S. Pietro in Montorio, for which church it was painted." 
— Eaton. 

"It must ever be matter of wonder that anyone could have doubted of the 
grand unity of such a conception as this. In the absence of the Lord, the discon- 
solate parents bring a possessed boy to the disciples of the Holy One. They seem 
to have been making attempts to cast out the Evil Spirit ; one has opened a book, 
to see whether by chance any spell were contained in it which might be success- 
ful against this plague, but in vain. At this moment appears He who alone has 
the power, and appears transfigured in glory." — Goethe. 

"In looking at the Transfiguration, we must bear in mind that it is not an his- 
torical but a devotional picture ; that the intention of the painter was not to re- 
present a scene, but to excite religions feelings by expressing, so far as painting 
might do it, a very sublime idea." — Mrs. Jameson. 

" My strongest objection against Scripture pictures is the pain I feel in looking 
on blood and tortures, however exalted the faith of their victims. . . . The 
Demoniac Boy, in Raphael's Transfiguration, is disagreeable and undignified. 
. . . Nothing is more revolting than ensanguined gashes or muscular convul- 
sions. In such pictures we at once miss and dread to find exactitude of imitation. 
What pleasure could such attempted fidelity bestow ? It is always more horrible 
or less lovely than nature herself.' 1 — Mad. de Stael. 

" I am impressed with the idea that the face of Jesus looks too much like hu- 
man flesh and blood to be in keeping with the celestial aspect of the figure, or the 
probabilities of the scene. As regards the composition of the picture, I am not con- 
vinced of the propriety of its being in two so distinctly separate parts." — Haw- 
thorne. 

" The figure and head of the Saviour, in point of coloring, drawing, and expres- 
sion, are among the very highest achievements of the art of painting. The dig- 
nity and serenity with which the form of the Saviour reposes on the air are a dis- 
tinct expression of Divine power ; and the light with which it is penetrated is 
also celestial. . . . The kneeling figures at the extremity of the mountain, 
which are supposed to be portraits of the father and uncle of Cardinal de Me- 




Transfiguration — Raphael. 



382 



TRIA 



dici, by whom the picture was commissioned, are a blot in this magnificent wori^ 
and can only be excused by the custom of the times, and the deference which an 
artist naturally pays to the wishes of a powerful patron." — Hillard. 

Trianon (tree'-ah-non), The Grand ; open every day except 
M., 12-4, 5 ; a palace about a mile distant from Versailles, built 
by Louis XIV. after his completion of the latter, where, as St. 
Simon states, he became " tired with so much beauty and with 
the crowd, and persuaded himself that he wished for something 
o?: a small scale and for solitude." The palace was named from 
the village which was removed to give it place. 

Louis XIV. enjoyed the Trianon, but not finding the comfort 
and pleasure he had anticipated, he abandoned it as soon as his 
new chateau of Marly was completed. Louis XV. occupied the 
Grand Trianon until the completion of the Petit Trianon. Napo- 
leon I. restored it, 1810, at the time of his marriage with Marie 
Louise, contemplating its occupancy as an imperial residence — 
a plan afterward abandoned. Louis XVIII. and Charles X. never 
occupied it ; but Louis Philippe made it the summer residence of 
his family and court — numbering about 350 persons, besides 300 
soldiers. Napoleon III. never occupied the palace, but gave oc- 
casional festivals, and received here Queen Victoria. 











The Grand Trianon. 














12 


1 


2 


3 


4 


5 

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6 


7 


8 

- 


9 


10 


11 

13 






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18 


17 


16 


15 


14 










19 




20 




21 





Room I . — Salon des Glaces. Clock presented to Napoleon by 
Ch. IV. of Spain. 

2. — With No. 3 occupied as bed-chamber by Louis XIV., Jose- 
phine, and Louis Philippe. 

3. — Salon, formerly a chapel. 

4. — Vestibule ; Princes' and Lords' room, in time of Louis XIV. 



TRIA 383 

5. — Peristyle; formerly a summer dining-room. Marshal Ba- 
zaine tried here, 1875. 

7. — Circular Saloon ; Chapel, in time of Louis XVI. 

8. — Billiard Room ; Music hall, time of Louis XIV. 

9, 1 O. — Sleeping rooms in time of Louis XIV. 

I I . — Malachite Room ; named from the malachite tables, 
vases, and cups, presented by Emp. Alex, of Russia to Napoleon, 
after the Peace of Tilsit. 

12. — Grand Gallery ; with paintings, busts, and vases; din- 
ing-room in time of Louis Philippe. 

I 3. — Library in time of Napoleon I. ; inlaid table presented 
by the pupils of a deaf-mute school to Josephine. 

I 5. — Napoleon's Study. 1 7. — Bed-chamber of Napoleon I. 

Rooms 14 to IS were also occupied by Mme. de Maintenon, 
Stanislas, Louis XV., Napoleon I., and in the time of Louir, 
Philippe, by the Royal Princesses. 

Rooms I 9, 20, 2 I . — Private rooms of Louis XIV. ; also the 
suite arranged for and occupied by Queen Victoria, 1846. 

Near by is the Musee des Voitures, a collection of state car- 
riages. Open Sun. and Th. 

Trianon, The Petit (pe-tee' tree'-ah-noft). Upon Louis 
XV. 's attaining his majority, he erected 
this smaller palace particularly for Mme. 
Du Barry. 

Upon Louis XVI. 's coming to the throne 
he gave it to Mar'e Antoinette, who made 
it her favorite residence. 

In Louis Philippe's time the Duke and 
Duchess of Orleans resided here for a time. 

During the reign of Louis Napoleon, 
Empress Eugenie sought to collect in the Petit Trianon whatever 
articles might be found whioh had once belonged to Marie Antoi- 
nette, making it in some sense a Petit Musee. 

Room: I . — Ante-chamber ; bust of Emp. Joseph II. of Austria, 
brother of Marie Antoinette. 

2. — Dining-room ; writing table presented to Louis XVI. by 
the states of Burgundy. 

3. — Petit salon; jewel-casket of Marie Antoinette, made of san- 
dal and mahogany woods, crowned with Prudence, Wisdom, and 
Abundance. 

4. — Grand Drawing-room; numerous objects belonging to 



3 4 5 > 

2 ' 6 ' 

1 



384 TRIN 

Marie Antoinette ; several writing-tables ; a harpsichord ; a desk, 
two vases of petrified wood, presented by Erap. Joseph II. to 
his sister. 

5. — Boudoir ; work table ; bust of Marie Antoinette in porce- 
lain. 

6. — Bed-chamber ; carved wood bedstead ; carpet, presented 
by the city of Lyons ; fluted vases. 

7 . — Dressing-room ; a toilet ; vases ; basket of flowers. 

Trinita de* Monti, La, ch., Rome; above the Pi. di 
Spagua. Erected, 1494, by Chas. VIII., of France. Closed af- 
ter 9-£ A. M. but admission may be obtained at a side door to the 
left. The chief interest is in Volterra's Descent from the Cross, 
which, on account of the unfavorable light, should be visited in 
the morning. 

On the r.: 2d Chapel, picture of St. Francis de Sales ; 3d 
Chapel, Assumption, the Presentation and Massacre of the Inno- 
cents, by Volterra; in the Assumption, in the r. corner, is the por- 
trait of M. Angelo ; 5th Chapel, school of Sodoma ; 6th Chapel, 
School of Perugino. On the I.: 1st Chapel, Descent, by Achter- 
mann; 2d Chapel, **Descent, by Volterra (see Descent); 3d 
Chapel, Madonna, by Veit ; 4th Chapel, St. Joseph, by Langlois ; 
6th Chapel, Wise and Foolish Virgins, and the Prodigal Son, by 
Seitz, Claude Lorraine was originally buried in front of the 2d 
ch. on the 1. ; since removed to the Ch. S. Luigi de' Francesi. 

Tross'-achs (bristling country), Scot.; a narrow defile with 
many projecting or bristling rocks. Hardly sustains expectation. 
Scene of Scott's " Lady of the Lake." See Route No. 3. 

Tuileries (tuil'-re'), Palais des, Paris, commenced by 
Catherine de Medicis, 1564, completed by Napoleon III., 1856; 
was used as an occasional royal residence. In 1789, the market 
women of Paris marched to Versailles, and compelled Louis XVI. 
to return with them, and take up his abode in the palace. In 
1792, a mob appearing before the palace, a sanguinary conflict 
ensued between the guards and the people, in which 800 Swiss 
soldiers were slaughtered (in memory of whom the Lion monu- 
ment at Lucerne was sculptured), the King taken prisoner, and 
the Bourbons overthrown. 

In 1800, Bonaparte as First Consul made it his chief residence ; 
in 1830 the palace was again captured by the populace, Charles 
X. taking flight; in 1848 another revolution occurred, the palace 
being sacked, the throne burned, and Louis Philippe and family 



TUIL 385 

escaping capture by passing through the gardens and out of the 
gate at the Place de la Concorde. In 1871, the Communists in 
their general purpose of destroying all the public buildings of 
the city, filled the palace with explosives and petroleum, and 
upon the entrance of the government troops, fired the palace, 
which soon became a mass of ruins. 

* Tu iSeries, Gardens of the, extending from the palace 
to the Place de la Concorde, laid out in time of Louis XIV. , are 
surrounded on three sides by terraces, that on the s. being a sub- 
terranean passage to the palace. Among the statuary are 1, The 
Knife Grinder ; 2, Phidias ; 4, Pericles ; 8, Theseus ; 9, Sparta- 
cus ; 10, The Laocoon, Hercules, and Meleager. 

In the grove are the Carres d'Atalanta (designed by Robes- 
pierre in 1793), two amphitheatres with seats for the council of 
old men who were to preside over the Floral Games. Near the 
w. end, called La Petite Provence, the favorite resort of the little 
folks, is a fountain with four groups in marble : n. side, the 
Rhone, and Saone, by Coustou ; The Tiber, by Van Cleve; s. 
side, The Nile by Bourdot ; and the Rhine and Moselle, by Van 
Cleve. The orange trees in the Allee des Orangers, are from 100 
to 400 years old. At the gateway of Place de la Concorde are 
two fine groups : Fame and Mercury, by Coysevox. 

Turin' (too-rin'), Torino (to-ree'-no), Italy, on the Po and 
Dora Riparia. The train from Geneva and Paris enters the city 
on the s. side, and runs nearly due n. into the station ; pop. 
253,000. It was founded by the Taurini ; destroyed by Hannibal 
B.C. 218 ; was the capital of Piedmont in the middle ages ; be- 
came subject to Savoy, 1418; and was the capital of Italy from 
1859 to 1865. 

Principal Objects of Interest : the Palazzo Madama ; the Pa- 
lazzo Reale ; Palazzo dell' Accademia delle Scienze, and Cathe- 
dral. 

Palazzo Madama, in the Piazza Castello, erected in the 
13th cent., is the only mediaeval structure in the city. In front 
is a mon. to the Sardinian Army, 1859. 

Palazzo Reale, on the n. side of the Piazza Castello, the resi- 
dence of the King when in the city, is accessible only in the ab- 
sence of the family. The s. e. wing contains the * Armory, open 
11-3 ; Sun., free ; other days by ticket obtained at the Armory. 

The Palazzo dell' Accademia delle Scienze, in the Pi- 
azza Carignano. Ground Floor: Museum of Antiquities, Egyp- 
25 



386 



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TURN 387 

tian, Grecian and Roman sculptures. First Floor : Museum of 
Natural History and of Mineralogy. Second Floor (98 steps) : 
* Picture Gallery, 600 paintings ; 15 rooms ; * Room No. 13. 

The Cathedral, adjacent to the Pal. Reale, 1492. On the 1. 
of the high altar are the seats of the Royal Family. Behind the 
high altar is the Capella del SS. Sudario, the tomb of the Dukes 
of Savoy ; mons. and modern statues. 

Routes : To Paris, 22 hrs., $20 ; $16.50 ; see Route 40 Turin to Culoz, thence 
Route 39 Culoz to Paris. To Geneva, 11 hrs., $7.75; $5.75; see Route 40 
Turin to Culoz, thence Route 39 Culoz to Geneva. To Milan, Z% hrs., $3.40 ; 
$2.20 ; see Route 43. To Venice, 10 hrs., $9.50 ; $6.60 ; see Route 43 Turin to 
Milan, thence Route 46 Milan to Venice. To Bologna, 1% hrs., $7.60 ; $5 ; see 
Route 42. To Flokence, 12 hrs., $10.60 ; $7.40 ; see Route 42 Turin to Bo- 
logna, thence Route 49 Bologna to Florence. To Genoa, 5 hrs., $3.40 ; $2.40 ; 
see Route 42 Turin to Alessandria, thence Route 52 Alessandria to Genoa. 

Turner, Jas. Wm. Mallard, 1775-1851, b. Covent 
Garden, London. Entered the Royal Academy, 1789, working 
chielly upon landscape in water-color. About 1802 he began to 
paint in oil. At first an imitator of Claude and Poussin, he ulti- 
mately applied the water-color treatment to his oil-paintings, 
producing effects of light, shade, and mist, hitherto unapproached. 
His pictures should be viewed from a distance. His works num- 
ber more than 200, the larger part of which he bequeathed to the 
National Gallery. He was never married ; was not known to have 
any relatives, and lived at Chelsea under the name of Brooks. 
Entombed in St. Paul's, beside Sir Joshua Reynolds. 

u I conceive Turner to be the most powerful painter whom the world has ever 
seen and that he was prevented from being the most perfect by various causes.'' — 
Buskin. 

Ur-su-la', St. Legend of. 

A princess of Britain (or Brittany), who with 11,000 virgins made a pilgrimage 
to Rome, between the 3d and 13th centuries, and on the return were all barba- 
rously murdered near Cologne. The manner of collecting the virgins is stated to 
be that her hand being sought by the King of England for his son, she made 
reply, "he shall give me for companions ten virgins of noble blood, and to each 
of these a thousand attendants, and to me also a thousand maidens to wait on me." 

" This extraordinary legend is believed to have originated in the discovery of an 
inscription to Ursula et Undecimilla VirgiJies, the second name being read as ex- 
pressive of a number, and not a person, and so converting two virgins into 11,000." 
— Fairholt. See Cologne, St. Ursula. 

Uta, the Legend of Ehrenfels. 

The maiden TTta sat nt the window of the castle weeping bitterly, because her 
father had called the Knight of Reichenstein, whom she dearly loved, a robber 
and an outlaw. At this moment turning her eyes toward the home of her lover. 



388 VAN 

she beheld it in the midst of flames, and the Knight in a boat crossing the river. 
As he drew near he called, saying, " Uta, come to me once more before I leave 
you forever ; the Emperor has made me an outlaw and a fugitive. Fly with me, 
my darling maiden.'" She replied, " O that we had died while we were yet 
happ3 r . I cannot desert my father ; I will take the veil and in the cloister T will 
give all my prayers and thoughts to you." "Never !" exclaimed the Knight, and 
clasping her to his bosom, plunged with her into the waves. The next day the 
lovers were found still locked in each others arms. 

Van, Van de, Van der. See under the name proper, 
Dyck, £yck, Velde, etc. 

Vatican, The, was first occupied as a residence by the Popes 
about a.d. 500. Charlemagne is believed to have made his resi- 
dence here on his visit to Rome, 795. It was rebuilt, 1280 ; and 
in the 14th century made the permanent papal residence. In 
1473, Sixtus IV. added the Sistine Chapel, since which time suc- 
cessive popes have continuously extended the Vatican, until it has 
become the most extensive palace in the world; containing 20 
courts and 11,000 apartments, chapel, and halls. 

Principal Objects of Interest, which see respectively: I. Sistine 
Chapel ; II. Stanze of Raphael ; III. Loggie of Raphael ; 
IV. Picture Gallery, or Pinacoteca, see Part II. Vatican, 
Pictures ; V. Sculpture Gallery, see Part II. Vatican, Sculp- 
tures. 

Permission, permesso, necessary ; obtained at the office on the 
r. of the passage leading to the Sistine Chapel, upstairs. A 
single permesso admits 8 persons to the Sistine Chapel, Stanze, 
Loggie, and Pinacoteca. A separate permesso is required for the 
Gallery of Sculptures. 

As the Sistine, the Stanze, and the Loggie of Raphael, and the 
Pinacoteca are adjacent, these may all be included in one visit by 
those whose time requires it. 

An audience with the pope may usually be obtained by making 
application some days in advance to the President of the American 
College, or through the assistance of one's banker. 

Velasquez, Diego Rodriguez de Silva, (va-las'-ketb), 
1599-1660, b. at Seville, Spain. A pupil of the elder Herrera, 
he imbibed the style of his master. At the age of 22 he went 
to Madrid, and was invited to paint the portrait of Philip IV. 
Upon the visit of Rubens to Madrid, Velasquez met him and re- 
ceived much assistance from the great Flemish master. Soon 
after Velasquez went to Italy where he studied the works of the 
great Italian painters, particularly Raphael and Tintoretto ; he 



VELD 389 

was a master equally in sacred and dramatic scenes, figures, and 
landscapes, though his works are often wanting in soft and deli- 
cate tone and finish. 

Principal Works: Belv., Eve: Bergamo, 28, 169; Berlin, 413A, 413G; Cap., 
8; Doria, Innocent X. ; Dul., 194? 309; Frank., 51, 51 A; Hague, Span. Sen., 
two; Hamp. Ct., 82, 90?: Hermit., 418-19-20-21-22; Liverp., 124; Louvre, 551- 
2-3-4, 39, 37? ; Madrid, 1054 to 59, 1060 to 69, 10T3 to 78, 1080-3-4-6, 1090 to 99. 
1100-6-8, and others. 62 in all ; Munich, 366, 366A, £67, 1311, 1414A ; Nat. Gall., 
307, 232, 745; Pesth, 695; Pitti, 243; Turin, 392; Uffi., 210. 

Velde, Adrian van de (vel-deh), 1639-1672, b. at Amster- 
dam, pupil of Wynants ; one of the first masters of landscape 
and cattle. Though he died in his thirty-third year, he had fin- 
ished with great care and delicacy 189 pictures. 

Velde Willem van de, the elder, 1610-1693, b. at Leyden. 
In early life a sailor ; a reputable painter of sea scenes. 

Velde, Willem van de, the younger, 1633-1707; son of 
the elder, b. at Amsterdam. Pre-eminent as the marine painter 
of the Dutch school. His atmosphere, storms, calms, light, and 
clouds, are seldom equalled. His works, exceeding 300, arc 
principally in Eng. and Holland. 

*Vend6me Column, Place Venddme, Paris. Erected by 
Napoleon I,, in 1806, in honor of his victories over the Austrians 
and Russians. It is 144 ft. high, 13 ft. in diameter, the core 
being of masonry and covered with bronze plates in the style of 
Trajan's Column, at Rome. Around the column is a spiral series 
of reliefs nearly 900 feet in length, illustrating the campaign of 
1805 ; 1,200 captured cannon were used in its construction. The 
column was thrown down by the Communists in 1871, but has 
since been re-erected. The summit was originally crowned by 
a statue of Napoleon I. Upon his downfall the statue was sup- 
planted by a huge fleur-de-lis, which in turn, gave place, in 1831, 
to a new statue of the Emperor similar to the original. Upon 
the overthrow of the column in 1871, the statue was shattered 
into fragments, but has since been again replaced. 

Venice, venezia, pop. 131,000. The city is built upon 117 
islands, separated by 147 canals, and connected by nearly 400 
bridges. The Grand Canal, in shape like the letter S, divides the 
city into two nearly equal parts, the rly. station being at the 
n.w. end, and the Piazza of St. Mark's at the s.e. 

History : Upon the downfall of the Western Empire some of the 
inhabitants of Northern Italy sought refuge from the conquering 
barbarians, upon the low islands of the Adriatic, thus laying the 



390 VENU 

foundations of the city. From fishermen they gradually attained 
the mastery of the Mediterranean and the commerce of the then 
known world. In the 11th and 12th centuries the Venetians de- 
feated the Turks in Syria, the Greeks in the Peloponnesus, and 
in 1204, conquered Constantinople. 

From the discovery of the passage to the Indies by the Cape of 
Good Hope, Venice gradually declined in commerce and power un- 
til, in 1797, it was conquered by Bonaparte and annexed to 
Austria. In 1836, it was ceded to Italy as a part of the Italian 
Kingdom. 

The general appearance of the Grand Canal, although lined 
with "Palaces," as the guide-books inform us, is assuredly dis- 
appointing. Venice, to be enjoyed, must be seen by moonlight, 
or at twilight, and in summer. 

Principal Places of Interest^ which see respectively under the 
titles, St. Mark's ; Doges' Palace ; Academy of Fine Arts, see 
Part II. , Venice ; The Arsenal. 

Churches : The Frari ; S. M. della Salute ; S. Giovanni e Paolo, 
with the Scuola di S. Marco ; S. Sebastiano. Churches open 
from early morning until 12 or 1. 

Routes: To Milan, 6 hrs., $6; $4.40: see Route 46. To Bologna, 4 hrs., 
$3.70 ; $2.60 ; see Route 48. To Munich, 17 hrs., $15 ; $11 ; see Route 58. To 
Flokence, 8 hrs., $6.70 ; $4.90 ; see Route 48 to Bologna, thence Route 49 to 
Florence. 

Venus. Greek, Aph-ro-di'-te, myth, goddess of love and 
beauty ; dau. of Jupiter and Dione ; wife of Vulcan ; was in love 
with Mars; and beloved by Neptune, Mercury, Bacchus, and Adon- 
is. The rose, myrtle, apple, and poppy ; the dove, sparrow, swan, 
and swallow, were sacred to her, as was also the month of April. 

Statues : 

Venus An-a-dy-om -e-ne, rising from the sea. Both hands ele- 
vated and holding the hair ; draped below the hips, the drapery 
being gathered into a knot in the centre. Below life-size. Vat., 
(Chi.) No. 353, of Roman workmanship, (Br.) No. 92. 

Venus of the Bath, statuette ; Louvre. Much restored ; sup- 
posed to be a copy of the Venus of Polycharmes which Pliny says 
was taken to Rome in his time. 

Venus Borghese, by Canova, Villa Borgliese, Rome. Mod- 
elled after Pauline Bonaparte, sister of Napoleon I. Reposing 
upon a couch, the right hand supporting the head ; the left hold- 
ing an apple ; draped from the hip. 




_^n West 




East. £$ 



VENU 



391 



**Venus Cal-lip'-y-ge, Mus., Naples. Attributed to Praxit- 
eles ; found in Nero's Golden House, Rome ; belongs to the best 
period of Greece. Looking back over 
the right shoulder ; left hand elevated, 
holding drapery in both ; figure chiefly 
und raped. The back is particularly 
admired ; right arm, head, and limb 
restored. 

Venus op Canova, Pitti Gallery. 
In position somewhat like the Venus 
de Medici ; covered in front from the 
breast to the knee by drapery held by 
both arms folded across the breast. 

" There is a want of simplicity and repose in 
the whole figure. She is huddling her drapery 
about her, and at the same time an expression 
in her face seems to say, ' Am I not doing it be- 
comingly ? ' " — Hillard. 

**Venus op the Capitol ; Cap. 

3fus., Rome. Found about the middle 

of the last cent., walled up in a niche 
of an ancient house 
on the Quirinal, 
Rome. Supposed to 
be a copy of the Aph- 
rodite of Praxiteles ; 
evidently of the best 
period of Greek art. 

Found almost perfect. The right arm is folded 
across the breast, the left rests upon the thigh. 
On the left is an urn supporting drapery. A 
similar statue is in the Naples Museum. 

" The truthfulness and beauty with which nature is re- 
produced in the Venus of the Capitol made this statue a 
subject of scandal to the austerity of the early Christians. 
Without doubt, the desire to protect it from their mutilation 
caused it to be carefully buried ; hence its entire preserva- 
tion. Thus its danger became its salvation.' 1 — Ampere. 

** Venus op Capua, Venus Victrix, No. 644 
(98), Naples Museum. Found at Capua. The 
arms, the cupid, and the base are modern. The similarity of this 
figure to that of the Venus de Milo renders the position of the 
arms questionable. 





V. Callipyge. 



V. Capitol. 



392 



VENU 



" The supple and soft, limbs, the beauty of the attitude, and the elegant har- 
mony of the whole composition so far impose upon the imagination as to make us 
think we are looking on some living form, standing motionless on a pedestal. 

She tramples under foot Minerva's helmet, and 
bears on her forehead Juno's diadem. 1 ' — Hand- 
book, National Museum. 

**Venus op Cnidos, or Knidos. I. 
Vatican, (P.C.) No. 574. Hall of the 
Greek Cross. The most perfect known 
copy of the Venus of Knidos by Praxi- 
teles. The bronze, extending from the 
hip downward, is a modern addition. 
The figure, which is above life-size, 
stands upon the right foot, the left 
slightly touching the pedestal ; the right 
hand clasps the drapery gathered about 
the middle of the figure ; the left is 
raising the drapery from an urn. which 
gives the the left shoulder considerable 
elevation above the right. The left arm 
bears a bracelet. The arrangement of the hair is simple and 
pleasing. The face is peculiarly expressive of feminine innocence 
and sincerity. II., No. 112, Chiaramonti Gallery. III., No. 131, 






Crouching V. — Florence. Crouching V. — Vatican. 

Glyp. , Munich. Altogether similar to the statue in the Vatican ; 
believed to be Roman workmanship. 



VENU 



398 





Genetrix. 



Venus, Crouching, I., No. 429, Reserved Cabinet, Vatican; 

found in the Campagna. She is partly resting on one knee, the 

right arm raised and inclined toward the 

left shoulder. II., No. 112, South Corridor 

of the Uffizi. 
Venus de Dione. See Towneley Venus. 
Venus Genetrix, Borghese Villa, Borne; 

right hand e]evated, holding drapery ; left 

hand with an apple ; draped. 
Venus of the Hermitage, No. 343, 

Hermitage ; found near the Porta Portese, 

Rome, 1859. Also, No. 347, purchased in 

Rome by Peter the Great. 

** Venus de Medici, Tribune of the 

Uffizi, by Cleomenes, son of Apollodorus ; 

found in the Villa of Hadrian, near Tivoli, 
in the 16th cent.; 
brought to Florence 
by Cosmo de Medici 
III. , hence called 
Venus de Medici. 

When found it was in 13 pieces, and with- 
out arms. 

" The goddess of love displays the lineaments of 
her shapely form to the eye completely nude, but not 
in naive self-forgetf ulness, or i:a the sublime abandon 
of conquest, but with conscious premeditation ; not 
without a certain shame-faced coyness, which iis ex- 
pressed in the position of the arms, with their effort 
at concealment of the bosom and thighs, and in the 
coy turning of the head to one side. With all the 
delicacy and perfection of artistic finish, with all the 
noble rhythmical proportion of the limbs, this trait, 
which betrays the calculating coquette, has but a cold 
effect."— Liibke. 

" She is very beautiful, very satisfactory, and has a 
fresh and new charm about her, unreached by any 
cast or copy. I felt a kind of tenderness for her — 
an affection, not as if she were a woman, but all 
womanhood in one. Her modest attitude — which, 
before I saw her, I had not liked, deeming it might 
be an artificial shame — is partly what unmakes her 
as a heathen goddess and softens her into woman. 

There is a slight degree of alarm, too, in her face ; not that she really thinks 

that anybody is looking at her ; yet the idea has flitted through her mind and 



V. de Medici. 



394 



VENU 



startled her a little. Her face is so beautiful and so intellectual that it is not 
dazzled out of sight by her form. Methinks this was a triumph for a sculptor to 
achieve. . . . The world has not grown weary of her in all these ages, and 
mortal man may look on her with new delight from infancy to old age, and the 

memory of her, I should imagine, as 
one of the treasures of spiritual ex- 
istence. . . . She is a miracle. 
The sculptor must have wrought re- 
ligiously, and have felt that some- 
thing far beyond his own skill was 
working through his hands." — Haw- 
thorne, 

** Venus de Milo, Lou- 
vre, discovered on the island 
of Melos, or Milo, 1820. Age 
unknown, but belonging- to 
the best period of Grecian 
art. In womanly grace and 
dignity, considered the finest 
statue known, and as placing 
the subject midway between 
the goddesses and Venuses. 
That this statue was origi- 
nally a Venus has hardly a 
shadow of probability. Arms 
wanting ; draped from the 
hips. Arms supposed to be- 
long to the statue have re- 
cently been found. 

" This is the only statue of Aphro- 
dite handed down to us which repre- 
sent her, not as merely a beautiful 
woman, but as a goddess. The form 
is powerful and majestic, and yet 
instinct with an indescribable charm 
of youth and beauty, while the pure 
and noble expression of the head 
denotes the goddess's independence 
of all human requirements, and the 
calm self-sufficiency of her divine 




V. de Milo — Louvre. 



character. . . . Grandly serious, and almost severe, the goddess of love ap- 
pears not yet conceived, as in later representations, as a love-demanding woman. 
The simple drapery resting on the hips displays uncovered the grand forms of the 
upper half of the body, which, with all their beauty, have that mysterious unap- 
proachableness which is the genuine expression of the divine." — Liibke. 

Venus, Towneley, British Museum ; called also Venus de 



VERN 395 

Dione, from a fancied resemblance to Dione; not unlike the 
Venus de Milo in position and drapery. 

The Naples Museum has 18 statues designated Venuses ; they 
are, however, simply nude figures, usually with the portrait head 
of a Roman Empress. 

Vends, Temple op. See Roman Forum and Coliseum. 

Vernet, Claude Joseph (ver-nay), 1714-1789, b. at 
Avignon, Fr.; studied in Ifcaly, and on his return was employed 
to paint the sea-ports of France. 

Principal Works: Belv., one ; Dresd., 706; Dul., 202; Hague, 252-3; 
Louvre, of the forty-two, 596, 615, 617, 623, are the best ; Madrid and Munich 
each possesses several ; Uffi., 655, 665. 

Vernet, Ahtoine Charles Horace, known as Carle, 1758- 
1835, b. at Bordeaux; son and pupil of Claude Joseph ; studied 
in Rome; excelled in battle-pieces and in horses. Among his 
noted works are the battles of Marengo, Wagram, and Auster- 
litz, at Versailles. 

Vernet, Emile Jean Horace, known as Horace, 1789- 
1863, b. at Paris ; son of Carle Vernet. Like his father, achieved 
the highest rank as a painter of battle scenes. 

*Ve-r6-na, ltal. ; pop. 70,000 ; delightfully situated on both 
banks of the Adige. Its principal object of interest is the Rom. 
Amphitheatre in the centre of the city, dating from a.d. 90. It 
is 1,500 feet in circumference and has 24,000 seats, and is in re- 
markable preservation. The Porta de'Borsari on Corso Cavour, 
is a triumphal arch built by Gallienus A.D. 265. The Tomb of the 
Scagliers, Presidents of the republic of Verona for more than a 
century, is also of special interest. 

The Cathedral contains an Assumption by Titian ; the other 
churches are of less interest ; and the whimsically reputed ' ' tomb 
of Juliet," of none. The house of the Capulets is in via S. Sebas- 
tiano. See Route 46, Note 10. 

Veronese, Paul (vay : ro-nay'-zeh), Cagliaki or Caliari, 
1528-1588, b. at Verona. Few artists have been more fortunate 
in the selection and treatment of their subjects than Paul Vero- 
nese. Seizing upon the more pleasing events of the New Testa- 
ment narrative, he threw into them a life and vivacity, a pleas- 
ing poetic fancy that have given them a lasting popularity. 
Nearly a hundred of his pictures have been engraved. His aim 
seems to have been to produce a pleasing effect by animated 
crowds, gorgeous drapery, and attractive accessories. 



396 VERS 

" The harmonious coloring, the noble life, the dignity of the figures, and the 
whole arrangement of the composition render it a masterpiece. 1 ' — Clement. 

" By his grand creative power and noble beauty he upheld the banner of Vene- 
tian art until the end of the century." — Liibke. 

" Paul Veronese was the real master of Rubens." — Wornum. 

" He was careless in design, and in costume extremely licentious, but these 
faults are completely concealed by the absorbing magnificence of his coloring, 
which, added to his noble fancy and inexhaustible invention, render his defects 
as a grain in the balance." — Algarotti. 

He is buried in the church of S. Sebastiano, Venice, where are 
also some of his finest works. See 8. Sebastiano. 

Principal Works: Belv., five; Borgh., 14, 20; Brera, 209, 215, 217, 223, 
808; Bruss., 130; Cap., 224; Cassel, 88, 91 ; Doges' Pal., *G-t. Hall of Council, 
ceiling, also *Sala del Collegio, ceiling ; Dresd., 299, 300-1-2-3-4-9, 314. 315 ; Ed- 
inb., 309, 377 ; Prank., 30 ; Hermit., 138 to 152 : Louvre, 92 to 101 ; Lyons, 177 ; 
Madrid, 526-7-8, 531-2-3 1-4, 540-4? Munich, 495, 1224, 1332 ; Nat. Gall., 26, 268, 
294, 1041 ; Pesth, IV. 160 : Pitti, 186, 216, 269 ; Turin, 157, 234 ; Uffi., 579, 589, 
603, 1136; Vat., St. Elena; Venice, 489, 519, 547, 603. 

Versailles. See Part II, Versailles. P. 488. 
Vespasian (zian), T. Flavins Sabinus; b. a,d. 9; 

Rom. Emp., 70-79. In the reign of Claudius he was sent to the 
command in Germany and Britain ; was consul in 51 ; sent by 
Nero to reduce the Jews in the East ; was proclaimed emperor at 
Alexandria ; his reign was signalized by few events of importance 
in Rome. The Coliseum was commenced, and finished by his 
son and successor, Titus. Palace of Vespasian ; see Palatine Hill. 
Temple of Vespasian ; see Roman Forum. 

** Vesta, Temple of, also called Temple of Hercules Vic- 
toi % ; on the e. bank of the Tiber, near the Pons iEmilius ; one 
of the most beautiful ruins in Rome. It is a small circular 
building, 26 ft. in diam., surrounded with a portico of 19 col- 
umns, one only of the originals having been lost. The roof is 
modern. 

This temple must not be confounded with that of Vesta, 
erected by Numa Pompilius, which was situated nearer the 
Forum ; for which see Roman Forum. 

*' The pillars are of the Corinthian order ; when they were new, and the mar- 
ble snow white, and sharply carved and cut, there could not have been a prettier 
object in all Home."- Hmothorne. 

Vesuvius. By the completion of the railway, the ascent of 
Vesuvius has been rendered practicable to all travellers, ladies as 
well as gentlemen. Carriages are taken at Naples for the station 
at the foot of the cone, and the ascent of the cone is made by a 
clumsy inclined railway. 



VIA 397 

The Road to Vesuvius. Leaving Naples by the Porta del 
Carmine, the road crosses the Sebeto by the Ponte della Madda- 
lena, passes the barracks, and successively the villages of Gio- 
vanni a Teduccio, La Barra, Portici (through the castle), to Re- 
sina. Here, upon the principal street, is the entrance to Hercu- 
laneum. 

At Resina the road turns to the 1. and makes an ascent of some 
miles, winding among vineyards, crossing the lava bed of 1858, 
and making numerous zigzays, till it reaches the observatory, at 
the altitude of 2,218 ft. Thence the lava bed of 1871 is crossed 
to the rly. station. The ascent of the cone is made in a few min- 
utes. A walk of 15 minutes from the upper station brings the 
visitor to the crater. The entire time for the excursion from 
Naples is about 10 hours. 

Via Sacra. See Roman Forum. 

Victoria Embankment, n. bank of the Thames from 
Blackf riars to Westminster Bridge ; recovered from tide water at 
a cost of $10,000,000. Beneath is the Underground rly. Below 
Waterloo Bridge is Somerset House : above it is Adelphi Terrace 
upon which is Cleopatra's Needle, 70 ft. in height, and 8 ft. 
square at the base, originally from Heliopolis ; presented by 
Mohammed Ali to Great Britain, and transported to London, 
1877. 

Vienna, the capital of the Austrian empire, possessing a pop. 
of about 1,100,000, is situated upon the s. bank of the Danube 
Canal, a small branch of the main stream. The fortifications 
which formerly surrounded the old city, having been levelled, a 
broad delightful avenue was constructed in their place, designated 
the Ring Strasse, which now separates the ancient and modern 
portions of the city. 

Within the Ring Str. the streets are still narrow and crooked, 
and the houses of mediaeval aspect ; beyond it, the city is one of 
the most inviting of Europe. Tramways pass entirely around 
Ring Str. and radiate in all directions to the suburbs. The Im- 
perial Residence or Burg, is upon the w. side of the inner city, 
upon the Ring. Upon the opposite side of the Ring Str. from the 
Burg a series of magnificent buildings has recently been erected, 
designed for governmental offices ; Parliament House, the Uni- 
versity, and all the various collections of History, Science, and 
Art. The collections hitherto in the Burg, the Upper and Lower 
Belvedere and other localities, when united and duly arranged 



398 VINC 

will constitute one of the most extensive and valuable Museums 
of Art and Science extant. 

The principal hotels, the theatres and music-halls, are all 
located upon the Ring Str. The rly. stations are in the suburbs, 
outside the walls, and about li mis. distant from the Ring. 

Across the Danube Canal is Leopoldsstadt, which is connected 
with the main city by 8 bridges. 

The central point of the city is the Graben, a short street in 
the centre of the inner city, a pleasant, well-built avenue, of 
greater width than usual for streets within the Ring. 

Principal Places of Interest : St. Stephen's Cathedral ; the 
Church of the Capuchins ; the Imperial Treasury in the Burg or 
Palace ; the Art Collection of the Belvedere ; the Ambras Col- 
lection of Antiquities in the Lower Belvedere ; the Academy of 
Art ; Museum of Art and Industry ; the Imperial Stables ; and 
Liechtenstein's, Harrach's, and Czernin's private Art Galleries. 

St. Stephen's Cathedral, the ecclesiastical centre and the his- 
toric church of the city, is adjacent to the Graben. Among the 
most interesting churches is that of the Capuchins, containing 
the Imperial vaults, in which rest the remains of the Imperial 
family from 1619 to the present; among them Maria Theresa ; 
Marie Louise, wife of Napoleon ; the Duke of Reichstadt, his only 
son; and Maximilian, the so-called ''Emperor of Mexico." 

Of the numerous statues, the most interesting is that of Prince 
Schwartzenburg, who defeated Napoleon at the great 3 days' bat- 
tle of Leipsic, in which the power of the Emperor was for the 
first time broken, leading to his overthrow the following spring. 

Across the Danube Canal is the Prater, the Hyde Park of 
"Vienna, extensive but monotonous and uninteresting. 

Unless one has ample time and some acquaintance with the 

language, a valet-de-place is desirable. 

Routes : To Dresden, 13 hrs., $12 ; $9. To Constantinople, 3 days, $54. 
To Venice, about 16 hrs., $13; $10. To Munich, 10 hrs., $10; $7.50. To 
Paris, 35 hrs., $36; $27. To London, via Cologne, 50 hrs., $42; $31. 

Vincent, St., de Paul, ch., Place de Lafayette, Pai'is, 1824, 
basilica style ; peristyle supported by 12 Ionic columns ; pedi- 
ment with relief of St. Vincent de Paul with Faith and Charity 
on either side ; portal adorned with 12 apostles; roof sustained 
by 84 Ionic columns ; nave, painted by Flandrin, representing a 
procession of saints and martyrs. Upon the high altar bronze 
Crucifixion, by Rude. 



VINC 



399 




Vinci, Leonardo da (vin-chee), 1452-1519, b. neat 
Florence ; was one of the most remarkable geniuses in the history 
of art. He was no less a master in science, music, and poetry 
than in painting and sculpture. His treatises upon art, anatomy, 
and various other subjects comprise 13 volumes. Hallam says, 
44 the discoveries which made Galileo, Kepler, and other illustrious 
names ; the system of Copernicus, 
the very theories of modern geol- 
ogists are all anticipated by da 
Vinci." He was the first anato- 
mist of his time. His treatise on 
painting was published in Paris, 
1654. 

Among his most noted works are 
the renowned "Last Supper," in 
the ch. of S. M. delle Grazie, Mi- 
lan, see Last Supper ; and " Mona . 
Lisa," in the Louvre, see Mona c ' 
Lisa. 

The cartoons of the heads in the 
Last Supper still exist ; that of 
Christ, in the Brera, No. 308; those 
of the Apostles in Weimar, Germany, 
greatly prized, and although Burckhardt states that, in his opin- 
ion, Italy possesses but a single genuine da Vinci — that of Isabella 
of Aragon, in Milan — his works nevertheless are to be met with 
in nearly every gallery in Europe, if the official catalogues may 
be relied on. 

He painted principally in Milan and Florence. He died at Aui- 
boise, France, and was buried there iu the ch. of St. Florentine. 

" The peculiarities of Leonardo's work are extreme scrupulousness about 
the nicest details, a certain massiveness in designing and modelling, and to this 
he added, as one fruit of his study of aerial perspective, a delicate blending of 
colors, and an airy softness of outline. In expression he combines dignity and 
majesty with a sweetness, which, especially in the female heads, takes on a char- 
acter of the most attractive loveliness. The type of his ideal female heads, with 
large, dark, deep eyes, rather long, straight nose, smiling mouth and pointed 
chin, is common to all his pupils and imitators, though in his original works this 
winning smile is blended with a dreamy, sad expression, indicative of the depth 
and sincerity of his feeling. ,, — L'tibke. 

Principal Works : Augsburg, 383 ? : Brera, 308 ; Dresd., 30 ; Flor. Acad., 43 ; 
Hamp. Ct., 61? 64?; Hermit., 13A, 14? 15; Louvre, 458, 459, 460-1-2; Milan, 
Ambros, Isabella of Aragon ; Parma, 362 ; Pitti, 140, 207 ? ; Sciarra, Modesty and 
Vanity; Uffi., 1252, 1157? 1139, 1288; Vat., St. Jerome. 



Holy Family — da Vinci. 
The works of da Vinci are 



400 VIRG 

Virgil, Tomb of, Naples, near the entrance to the Grotto of 
Posilipo, in a vineyard on an eminence to the 1. (fee i fr. each ; 
couple of sous to attendants at the tomb and the gate). The 
tomb is a chamber about 5 yards square, with ten niches for urns. 
It is well known that Virgil had a villa at Posilipo, and that he 
there wrote his iEneid and the Georgics, and there is little doubt 
of his having been buried at Posilipo, however much there may 
be as to this tomb being the identical restiug-place of his ashes. 

Vol-ter -ra, Danieie da, Ricciarelli, 1509-1566, b. at 
Volterra ; pupil of M. Angelo ; director of the decoration of the 
Vatican. Was employed by Paul IV. to drape the nude figures 
of the Last Judgment in the Sistine Chapel. His masterpiece is 
the Descent from the Cross, in the ch. Trinita de' Monti, Rome. 
In his later years, Volterra was engaged chiefly in sculpture. 

" His Descent is the one instance in which he has risen to grandeur." 

Principal Works : Liecht., 2d floor, I. 277 ; Louvre, 333 ; Rome, Trinita de' 
Monti, Descent ; Uffi., 1107. 

Wallace, Sir William, Scot., b. about 1270; educated at 
Dundee ; refused submission to Ed. I., was chosen commander 
of the Scottish insurgents ; defeated the English in a great bat- 
tle at Cambus-Kenneth, 1297 ; regained Scottish independence ; 
drove the English beyond the border ; entered and ravaged North- 
umberland. Next year Ed. totally defeated the Scotch at Fal- 
kirk. Wallace then went to France, and returning, was capti fed, 
1305, near Glasgow, and hung at W. Smithfield, London. His 
head was exposed on London Bridge, his limbs at Newcastle, Ber- 
wick, Perth, and Stirling. 

Warwick (war'-rik), Eng., is noted for its magnificent castle 
and its ancient church. The Castle, situated on the banks of the 
Avon, is probably the most perfect feudal fortress now existing in 
England. It contains a fine collection of pictures and armor, and 
notably the celebrated Warwick Vase, the largest marble vase 
known. Visitors usually received from 9 to 4 (6d). 

St. Mary' 8 Church, rebuilt 1394, is one of the best examples of 
the pure Decorated Gothic. In the Beauchamp Chapel is the tomb 
of Richard Beauchamp, which, in magnificence, ranks in England 
as second only to that of Henry VII. in Westminster Abbey. 
Tramway from Warwick to Leamington, 2 mis. 

Waterloo. See Brussels. 

Watteau, Antoine (wat-tow'), 1684-1721, b. at Nogent- 
sur-Marne ; subjects ai*3 usually out-door peasant life, fetes, and 



WEEN 



401 



sometimes court life of the time of Louis XIV. His finest works 
are in the Louvre — Collection La Caze. 

Principal Works : Berlin, 468-70-74A, 974A ; Dresd., 687, 688 ; Dill., 137, 173, 
228; Edinb., 64, 81, 72?; Hermit., 1503; Lond. Sloane's Mus., The Wedding; 
Louvre, 649, Fr. Sen., 260-1-3-4 ; Madrid, 2083, 2084 ; Munich, 1312 ; Uffi., 671. 

Weenix, Jan Baptist (way'-ninks), 1621-1660, b. at Am- 
sterdam. One of the most eminent Dutch animal painters; mas- 
ter also of chiaroscuro. 

Weenix, Jan, 1640-1719, b. at Amsterdam, son and pupil 
of Jan Baptist. Excelled in dead animals, especially dead hares. 
He frequently painted birds and game, but seldom a living dog. 

WerflT, Adrian van der (verf), 1659-1722, b. near Rotter- 
dam, Hoi. He was not fertile nor happy in his compositions, but 
in color, finish, elegance of form, and richness of flesh tint he is 
seldom surpassed. Among his best known and most pleasing 
pictures, is his Abraham and Hagar, in the Dresden G-allery. 

"His cold and polished painting." — Taine. 

Principal Works : Belv., one ; Berlin, contains a few ; Cassel, 697-8-9, 723, 
74,724: Dresd.. 1640-2-5-6; Edinb., 191, 355; Hague, 175, 176; Hermit., 984- 
6-7-8, 990, 992; Liecht., IX., 893; Louvre, 557-8-9, 560-1-2-3-4-5-6-7-8-9; 
Munich, 1070 to 1100; Pesth, XII. 441, 442; Rijks, 450-3-4: Turin, 396; Uffi., 
905, 985 ; Vienna, Chud., 242. 



Weights and Measures. 

A metre = 1 yd. 3% in. 

A yard = .92 of a metre. 

Kilo means thousand. 

Kilometre = 1,000 metres, or % ml. 

Litre = nearly a liquid quart. 

Measurements. 

Thermometer. 



Kilogramme = 2 2 / 10 lbs. 
Livre — lVio ^ bs - 
An ounce = 30 grammes. 
A hectare = 2)4 acres. 



Distances. 



u 


c 


3 


100 


3S 


30 


95 


35 


28 


90 


33 


26 


85 


30 


24 


80 


27 


22 


75 


24 


20 


70 


21 


17 


65 


18 


15 


60 


15 


12 


55 


13 


10 


50 


10 


8 


45 


7 


5 I 



Ph 



40 
35 
32 



30 
25 
20 
15 
10 
5 



-1 
-4 
-7 
-9 
-1-2 
-15 



-18 
ze;ro. 



3 

1 


-1 
-3 
-5 

-8 
-10 
-12 
-14 



Ej 


w 


o 

8 


§ 


i 


.62 


2 


1.2 


3 


1.8 


4 


2.4 


5 


3.1 


6 


3.7 


7 


4.3 


8 


5. 


9 


5.5 


10 


6.2 


20 


12.4 


30 


IS. 6 



a* 




o 


9 


w 


u 


40 


25. 


50 


31. 


60 


37. 


70 


43. 


80 


50. 


90 


56. 


100 


62. 


110 


68. 


120 


74. 


130 


80. 


140 


86. 


150 


93 



402 



WEST 



Barometric Measurements are made in Thousandths of a 
Metre, thus : 

Metres. Inches. Metres. Inches. Metres. Inches. 



711 


= 28. 


716 


= 28.2 


721 


= 28.4 


726 


= 28.6 


731 


= 28.8 



736 


= 29. 


741 


= 29.2 


746 


= 29.4 


751 


= 29.6 


756 


= 29.8 



.762 


= 30. 


.767 


= 30.2 


.772 


= 30.4 


.777 


= 30.6 


.782 


= 30.8 



Westminster Abbey, London. Open daily, 10-6, in sum- 
mer; 10-3, in winter. Admission to Chapels, 6d., Mon. free. 
Service, Sundays at 8, 10, and 3, and in summer at 7 also. 

Said to have been founded by Sebert, in 6th cent. , and to have 
been destroyed by the Danes. Edward the Confessor rebuilt it 
in 1065 ; Henry III. enlarged the Abbey and added a Ghapel, and 
Henry VII. , in 1502, erected the chapel known by his name' 
The Abbey is 375 ft. in length and 200 in width, and contains the 
tombs of twenty-eight kings and queens. 



lTran.i \f]__ 



N.Aisle 



Nave 
S.Aisle 



Choir. 



Edward 

Confessor' s 




S.Tran„ 
Poets' , 
Comer 




1. North Entrance. 

A. St. Benedict's Chapel. 

B. St. Edmund's Chapel. 

C. St. Nicholas' Chapel. 



2. West Entrance. 



Henry VII. 
Chapel. 



3. South Entrance. 



D. St. Paul's Chapel. 

E. St. John's Chapel. 

F. Islip, or St. John Bap. Chapel. 



G-. Chapels of SS. John, Andrew, and.Michael, united in one. 

Entrance may be made at the north (1), and south (3) transept 
doors; sometimes also at the west or principal door (2). By 
whichever door the visitor enters, he will at once be drawn to 
the south transept — the Poets' Corner. 

The Poets' Corner.— Commencing at the corner of the 
nave and transept, will be seen on the right wall of the tran- 
sept, monuments to Garrick, Addison (buried in the nave of 
Henry 7th's Chapel); Macaulay ; Thackeray; Handel; Goldsmith; 
Thomas Parr, age 152 ; Gay ; and in the pavement, Dickens, 
Dr. Johnson, and Sheridan ; Thomson ; Shakespeare ; Southey ; 
Campbell ; Prior ; Milton ; Gray ; Butler, author of Hudibras ; 



WEST 



403 



Spencer ; Chaucer ; Ben Jonson (buried in the n. aisle) ; Drayton ; 
Cowley; Dryden. On the adjacent pavement is this inscription. 
il Near this slab are buried Chaucer, Beaumont, Dryden, and 
Prior." 

Against the Choir Screen is the mon. to Robert South, D.D., 
between which and the mon. of Dr. Busby may be seen a portion 
of the mon. of Anne of Cleves, queen of Henry VIII. Near her 
lies Anne, queen of Richard III. 

The Chapels. — Entrance from the Poets' Corner. Admission, 
6d.; Mon. free. Vergers accompany visitors through the chapels 
every few minutes, giving full explanations of all objects of in- 
terest or note. 

St. Benedict's Chapel (A); centre, Earl and Countess of 
Middlesex ; Countess of Hertford ; 1., Simon de Langham. 

Passing through the gate ; 1. , Sebert, King of the East Saxons, 
d. 616 ; Athelgoda, his queen ; r. , children of Henry III. and Ed. I. 

St. Edmund's Chapel; 1., John, 2d son of Ed. II.; William 
and Blanche, children of Edward III. ; the mother of Lady Jane 
Grey ; Edward Bulwer Lytton (floor). 

St. Nicholas' Chapel (C). — In the corner at the 1. , mon. to 
the Duchess of Somerset, wife of Protector Somerset. Opp. the 
entrance, **mon. to Lady Bur- 
leigh and daughter, one of the 
most magnificent monuments in 
the Abbey. Centre, *fine mon. 
to Sir George Villiers. 

Henry Seventh's Chapel. 

South Aisle. — (1) Lady Mar- 
garet Douglas, one of the most 
titled ladies of English history, 
having as great grandfather Ed. 
IV.; g'dfather, Henry VII.; un- 
cle, Henry VIII. ; cousin, Edward 
VI.; brother, Jas. V. of Scot.; Henry Seventh's Chapel. 

son, Henry I. of Scot. ; g'dson, James VI.; g't g'dmother of two 
queens, both named Elizabeth ; mother, Margaret, Queen of Scots; 
aunt, Mary, Queen of France ; cousins Mary and Elizabeth, Queens 
of Eng. ; daughter-in-law, Mary, Queen of Scots. Married Thom- 
as Howard, son of the Duke of Norfolk ; second time, Earl of Len- 
nox, by whom she had a son, Lord Darnley, husband of Mary, 
Queen of Scots, and father of James I. of Eng. 




404 WEST 

(2) Mary, Queen of Scots. — First entombed in the Cathedral at 
Peterborough. Her son, James I., removed her remains to this 
chapel 1612, and erected this mon. On the 1. wall is a copy of 
the king's order for the removal. Here also rest her grandson 
Henry, eldest son of James I.; four children of Chas.I. ; Eliza° 
beth, dau. of Jas. I. ; Ann Hyde, first wife of Jas. II. , and ten 
of his infant children. Also beneath the floor Chas. II., Mary II., 
Wm. III., Prince George of Denmark, Queen Anne. 

(3) Margaret, Countess of Richmond, mother of Henry VII.; 
(5) General Mo?ick, Duke of Albemarle; (4) Lady Walpole. 

The Nave. — This chapel was founded by Henry VII. in 1502, 
who designed it for a Royal Sepulchre, stipulating in his will 
that none but those of royal blood should therein be buried. 

It is regarded as the finest specimen of tne florid Gothic now 
existing, and was called by Lord Bacon '* one of the stateliest and 
daintiest tombs in Europe." The walls contain, in niches, one 
hundred and twenty large statues of Patriarchs and Saints. In 
the upper east window is a representation of Henry VII. The 
stone ceiling, with its fan tracery and its marvellous pendentives, 
is considered the special glory of the chapel. 

(7) The Tomb of Henry VII. and Elizabeth, Ms Queen, is en- 
closed in a chantry of brass, highly ornamented. Within are 
their effigies, lying in robes of state, upon a tomb of black mar- 
ble. James I. is also buried in the same vault. 

(6) Royal Vault, in the centre, where rest the remains of 
George II. and his Queen, Caroline and Ed. VI. 

(8) Lewis Stuart (9) Urn containing the heart of Esme 
Stuart. 

(10) Duke of Montpensier, son of Duke of Orleans of France. 
Dean Stanley. Beneath the centre chapel are 65 coffins. 

Here were also interred Oliver Cromwell, four of his family, 
and six officers, but their remains were removed at the Restora- 
tion, 1661. 

(11) Sheffield, Duke of Buckingham, in a Roman Robe; Ann, 
Queen of James I. , in front of Sheffield. 

(12) Villiers, Duke of Buckingham ; Catherine, his duchess. 
Along the nave are suspended the banners of the Knights of the 
Bath. 

North Aisle.— (13) Lord Halifax. In front of this mon. Ad- 
dison is buried. (14) Queen Elizabeth. Mon. erected by James 
I. Adjacent is also interred her sister, Queen Mary. 



WEST 405 

(15) Mary and Sophia, infant children of James I. 

(16) Mori, erected by Charles II. over the bones of Edward V. 
and his brother, who were smothered in the Tower by Richard 
III. The remains were brought hither in 1674, having lain in 
the Tower 191 years. 

Chapel of Edward the Confessor, behind the high altar. 

(1) Shrine of Edward the Con- r — , , , , ...- ^ 

fessor; erected by Henry III., { ai u 2 3^ 

1269, when the remains of Ed- ! 1 4, 

ward were removed from their 8 7 6 Jy^ 

resting-place and deposited here. '-— ' — *- — a — -j— *^ 
Editha, his Queen, is interred on the s. side of the shrine. Near 
this, Matilda, wife of Henry I. , was buried. 

(2) Henry III. ; tomb of fine workmanship, panels of por- 
phyry, with mosaics of gold and scarlet. 

(3) Queen Eleanor, wife of Edward I. The body is interred 
here, but the heart is in the choir of the Friars' Predicants, Lon- 
don. 

(4) Henry V. ; with life-size statues at the staircases. Be- 
neath, is a headless figure of the King in oak ; the head, which 
was of silver, long since having disappeared. In the chantry 
above is a saddle, helmet, and shield, supposed to have been used 
by the King at the battle of Agincourt. 

(5) Queen Philippa, wife of Edward III. The bodies of Phil- 
ippa and Edward are both deposited in this grave, in accordance 
with her request. She was the mother of fourteen children, 
and directly related to thirty crowned heads. 

(6) Edward III. This and the preceding mon. were sur- 
rounded with statuettes, of which there were not less than thirty 
around the shrine of Philippa. In front is Thomas, Duke of 
Gloucester, son of Ed. III. 

(7) Margaret, daughter of Edward IV. 

(8) Ricliard II. and Queen. The wooden canopy is remarka- 
ble for a curious painting of the Virgin and Christ, still visible. 

(9) Coronation Chair of Edward I., beneath the seat of which 
is a stone, brought with the regalia from Scotland by Ed. I., 
1297. It was called the stone of Scone, and was regarded as the 
emblem of Scottish power, and has the tradition of being the 
stone which Jacob used as a pillow. All the Sovereigns since 
Edward I. have been crowned in this chair. 



406 WEST 

(10) The New Coronation Chair was made for Queen Mary II., 
wife of Win. III. At coronations, the chairs are covered with 
gold brocade, and placed before the Altar, behind which they 
now stand. 

Above the chairs are fourteen legendary sculptures respecting 
Edward the Confessor. Between these chairs are the sword and 
shield of Edward III. 

(11) King Edward I. ; entombed 1307 ; 467 years after, the 
tomb was opened by permission of the Dean of Westminster. 
' ' The body was perfect, having on two robes, one of gold and 
silver tissue, and the other of crimson velvet ; a sceptre in each 
hand measuring nearly five feet ; a crown on his head. He meas- 
ured six feet four inches." 

St. Paul's Chapel (D). Centre; r. James Watt; on passing 
out, on the r., is John Pym, the celebrated orator, (floor). 

St. John's Chapel (E), and Islip, or St. John Baptist's 
Chapel (F); contain no monuments of special interest. 

Chapels op St. John, St. Andrew, and St. Michael (G). 
Before entering, raon. to Gen. Wolfe. Killed at Quebec. 

To the r. around the chapels ; *Sir Francis Vere ; four war- 
riors kneeling ; *the Nightingale Family, Death coming from the 
tomb ; Duchess of Somerset ; Sir Henry Norris and Lady, their 
six sons kneeling ; Mrs. Siddons as Lady Macbeth, full length 
statue ; John Kemble, as Cato ; Sir John Franklin. 

North Transept, East Aisle: Robert Peel in the Roman 
toga ; Admiral Warren ; Wm. Cavendish, a stately mon. ; George 
Canning ; * magnificent mon. to John Halles, Duke of Newcastle ; 
Admiral Vernon, Fame crowning him with laurel ; *Sir Charles 
Wager ; fine statue of Lord Palmerston ; statue of Wm. Pitt. 
Near this spot are buried Pitt, Wilberforce, Canning, Fox, and 
Grattan; *Mon. to Lord Mansfield. West Aisle: Sir Wm. W. 
Follett ; Sir Eyre Coote ; Admiral Balcken, lost in the English 
Channel with 1,000 men, 1744; Gen. Hope, Gov. of Quebec; 
Warren Hastings, Gov. -Gen. of India; Richard Cobden ; Admiral 
Watson, with Calcutta kneeling and Chandernagore in chains. 

North Aisle of Nave : 1., Wm. Wilberforce ; Darwin (floor) ; 
memorial window to Robert Stephenson, engineer; Banks, the 
sculptor ; Dr. Hunter, the anatomist ; Ben Jonson's grave, 
marked with the words, " O Rare Ben Jonson," in the pave- 
ment; bust of Lyell, the geologist. At the end of the aisle, 
*Fox, the statesman, and Capt. Montague. Over the principal 



WEST 407 

door, *Wm. Pitt, the statesman ; s. side, Cornewall. In the bap- 
tistery, Wordsworth and Charles Kingsley. 

South Aisle of Nave : Congreve ; Brig. Gen. Howe, of Ticon- 
deroga ; large mon. to Admiral Tyrell, called " the pancake 
monument ; " Maj. Andre. 

In the Nave, at the end of the choir : Sir Isaac Newton ; in the 
pavement, David Livingstone, memorial tablet to Geo. Peabody, 
Robert Stephenson. 

8. Aisle, adjoining the choir : Dr. Watts ; John Wesley. 

Westminster Hall. London. See Parliament Houses. 

Weyden, Rogier van der, 1450?-1529, b. at Tournai; 
pupil of Jan van Eyck. His figures are long, thin, and unattrac- 
tive. Subjects were frequently the symbolic creations of the 
Middle Ages. He founded a school of Painting at Brussels. 
Many of his pictures, being unsigned, have been attributed to 
Memling. 

Whitehall, London, e. side Whitehall St. ; for a long period 
the residence of the Archbishop of York. When Wolsey fell into 
disfavor with Henry VIII. , the King confiscated the property 
and made it a royal residence. Here he first met Anne Boleyit, 
and here he died. Elizabeth was taken a prisoner from White- 
hall to the Tower, and returned Queen of England. 

James I. resolved to erect in its place a sumptuous royal pal- 
ace, and constructed the Banqueting Hall. Further progress 
with the building was prevented by the Civil War which broke 
out soon after. From an opening made in the wall of the Ban- 
queting Hall (now the royal Chapel), Chas. I. was led out to the 
scaffold erected in the street in front. Cromwell resided here 
until his death, 1658. 

Upon the Restoration, Chas. II. made this his residence, dying 
here, 1685. In 1697, all of the old palace was consumed by fire, 
the Banqueting Hall alone remaining. St. James's Palace then 
became the royal residence, and the Banqueting Hall was con- 
verted into a Royal Chapel. The ceiling is covered with pict- 
ures, stated to be by Rubens, but in which Rubens took little 
part. 

Wiesbaden (wees'-bah-dn), Ger., near Mayence, pop. about 
50,000 ; a popular watering-place, with mineral and warm 
springs ; was a Roman military post, the springs being even then 
in repute. On a height to the n. of the village are remnants of 
the Roman fortress, and a wall 10 ft. high, 9 thick, and nearly 



408 WILK 

650 ft. in length. The town presents the usual attractions ot 
summer resorts, fine hotels, shaded promenades, and delightful 
drives, and but little else ; 4 mis. from Biebrich, on the Rhine. 

Wilkie, Sir David, Scot, 1785-1841. Was sent to Edin- 
burgh at 14, and at 20 went to London. At 40, his health failing, 
he visited various parts of the Continent. His subjects were 
chiefly domestic scenes of Scottish common life. Died at sea. 

William I., the Conqueror, Eng., 1027-1087, b. at 
Palaise, Normandy. Landed at Pevensey, Eng., Sept. 28, 1066 ; 
fought the battle of Hastings, Oct. 14, 1066 ; was crowned at 
Westminster the Christmas following. In '69, "devastated the 
whole district beyond the Humber, so that from York to Durham 
not an inhabited village remained. In '87, burnt the town of 
Mantes, France, during which he was thrown from his horse, and 
so seriously injured as to cause his death. He died at Rouen, but 
was buried in the cathedral of Caen. 

Windsor Castle, Eng. (windel shore— winding shore), on 
the bank of the Thames, by rly. from Waterloo or Paddington 
Station, 22 mis., 1 hr. See Route 9, Note 20. St. George's 
Chapel, daily, 12.30-4. Albert Chapel, W., Th., and P., 12-3, 
without tickets. State Apartments (in the absence of the Queen), 
M., Tu., Th., and F.; summer, 11-4; winter, 11-3. Tickets ob- 
tained at the office in e. end of St. George's Chapel; and at 
Collier's bookstore across the street from the castle entrance. 
From the above, it will be seen that Th. and F. are the only days 
on which admission can be gained to both of the Chapels and the 
Apartments. 

Windsor was donated by Edward the Confessor ' ' to the monks 
there that serve God." Wm. the Conqueror, however, selecting 
it as his residence, dispossessed the monks, in 1066, since which 
time it has been a royal residence. The Castle, on a hill about 
100 ft. above the insignificant Thames, was commenced by Wm., 
and greatly enlarged by Henry I. Henry II., in 1170, held a 
parliament here, attended by all the great barons and the King of 
Scotland. During the contest between King John and the barons, 
the Castle was ineffectually besieged by the barons. Edward III. 
was born here. 

Entering the lower gateway, the visitor comes directly to St. 
George's Chapel, one of the best examples of the perpendicular 
Gothic. (The Guides offering themselves at the entrance are of 
little value, as they are not permitted to enter the buildings.) 



WIND 



409 



ST.GEORGE'S CHAPEL. 




? 



The Nave. 



St. George's Chapel. 

(1). In the pavement in the centre of the choir is a slab, cover- 
ing the entrance to the Royal Vault, in which rest the remains of 
Henry VIII.; his Queen, Jane Seymour; Charles I.; and an in- 
fant daughter of Queen Anne. 

(2). The Queen 1 s Gallery, arranged for her Majesty when at- 
tending service. The chairs, curtains, etc. , are of garter-blue silk. 

(8). Tomb of Edward IV., and his 
Queen, Elizabeth, and their son, Prince 
George. 

(4). Tomb of Henry VI. In the middle 
of the s. aisle is a large slab in the pave- 
ment bearing the name of Henry VI., 
whose remains were brought from Chert- 
sey Abbey and deposited here by Henry VII. 
' : And fast beside him, once feared Edward sleeps." 

(5). Mon. to the Duchess of Gloucester ; 
erected by Queen Victoria. The Windows 
of the North and South aisles are dedicat- 
ed to the Sovereigns of the Order of the 
Garter. * Mon. to Prince Napoleon. 

(6). *Mon. to the Duke of Kent, erected 
by Queen Victoria to her illustrious father. 

(7). Beaufort Chapel: Mon. to Sir Charles Somerset. 

(8). ** Cenotaph of H.R.H. the Princess Charlotte, erected by 
National subscription. 

(9). Rutland Chapel, with numerous monuments. 

The Great West Window, of seventy- five figures in eight com- 
partments, represents Edward the Confessor, Edward IV. , Henry 
VIII. , Knights, Patriarchs, and Bishops. 

**The Albert Chapel, adjoining St. George's Chapel, on the 
e. has been fitted up with great magnificence by the Queen, in 
memory of the Prince Consort, and is considered one of the rich- 
est in the world. The windows presenting full length portraits 
of the ancestors of the Prince, are of surpassing richness. **The 
walls under the windows are inlaid with " marble pictures." In 
the centre, is a **Cenotaph with a recumbent figure of the Prince 
in armor. The panels are ornamented with statues of Truth, 
Hope, Piety, Charity, Justice, and Honor. Beneath this chapel^ 



E 



3 



410 WIND 

is the Royal Tomb House in which are interred Geo. III. , Geo. 
IV., Win. IV., Queens Charlotte and Adelaide. 

The State Apartments are open during the absence of the 
Court, M., Tu., Th. and F., 12-3. Visitors accompanied by an 
attendant, who refers to all objects of interest. Queen's Audience 
Chamber, painted by Verrio. Queen Catherine, as Britannia, in 
a triumphal car drawn by swans, attended by Flora, Ceres, and 
Pomona. The walls are hung with Gobelins with the history of 
Esther and Mordecai. Paintings : Fred. Henry, grandfather of 
Wm. III.; Wm. II., Prince of Orange ; Mary, Queen of Scots. 
The nan Dyck Room : Paintings all by van Dyck. Queerts State 
Drawing Boom: Six large landscapes, and Finding of Moses, 
Isaac and Rebecca, and Jacob, by Zuccarelii ; Duke of Gloucester, 
Georges I., II., and III.; and Frederick, father of George III. 
State Ante-Room : On the ceiling is the Banquet of the Gods. 
The Grand Vestibule, with suits of Armor of the time of Elisabeth 
and Chas. I. The Waterloo Chamber, with portraits of men con- 
nected with the battle of Waterloo. Grand Reception Room : 
Floor oak inlaid, and " the furniture is of the most splendid de- 
scription." Magnificent Malachite Vase presented by Emperor 
Nicholas. Walls hung with gobelins ; subject, Jason and the 
Golden Fleece. 

St. George's Grand Banqueting Hall, 200 ft. long, contains 
upon the ceiling the armorial bearings of all the Knights of the 
Garter, from the institution of the order, 1 350, by Edward III. , 
to the present time. N. side are recesses in which are full length 
portraits of 11 English Sovereigns, from James I. to Geo. IV. 

The Guard Chamber. At s. end fine colossal bust of Nelson, 
by Chantrey ; bust of Marlborough ; bust of Wellington, by 
Chantrey. The silver shield inlaid with gold, presented by Fran- 
cis I. of France to Henry VIII., on the Field of the Cloth of Gold. 

The Great Tower affords a fine view in clear weather. The 
warder will explain everything, if allowed to have his own way 
and time. 

Wouverman, Philip, 1619-1668, b. at Haarlem, Hoi; 
pupil of Wynants. Subjects are landscapes and skirmishes. His 
pictures are usually small, full of energy and animation; but, with 
the ever-recurring white horse, they are somewhat monotonous. 
His works number over 800, and are to be found in all galleries. 

Principal Wobks : Amst., Hoop, 144 : Van Hill., three ; Ant., 500 ; Belv., 
one ; Berlin, 899 ; Cassel, 465-8, 474-5-8 ; Dresd., 1325-39-55-56-57-68-75, are th« 



WRES 



411 



best; there are 64 in all. Dul., 137, 173, 228; Hague, 182-4-5-6-7-S ; Hermit., 
995-6-8, 1029, 1001-2-6-7-17-21-24-25-27-30-33-34-35-37-43 ; Louvre, 565-67-70; 
La Caze, 152 ; Madrid, 1830-1-3-4-5 : Munich, 208, 9S9, 998, 1011 ; Rijks, 462-5- 
6-8-9. 470 ; Turin, 306 ; Vienna, Chud., 97 ; Roy. Acad., Horseman. 

* Wrestlers, The, a noted group of statuary, No. 343 Tri- 
bune, Uffi. Gall. The work displays in the accuracy of its knot- 
ted muscles, great 
anatomical knowl- 
edge, and indicates 
in its general excel- 
lence, the best age of 
Greek Art. 

The special point 
of interest in the 
group, in addition to 
its merit as a work of 
art, is, that in the 
Greek games, a wrest- 
ler had not defeated 
his antagonist until 
he had made his 
shoulder touch the 
ground which here he 
has not yet achieved. 

Wynants, Jan, 
history little is known 




The Wrestlers — Florence. 



1600-1680, b. at Haarlem, Hoi. Of his 
His subjects were landscapes, which he 
painted in clear, bright color, but with painful accuracy of de- 
tail. His conscious inability with figures induced him to employ 
other artists for that part of his best work. His works number 
214, and are highly prized in England. 

York, Eng., on the Ouse, pop. 50,000, the Eb&racum of the 
Romans, was one of the most important towns and military posts 
of the Romans in Britain during their supremacy. Here emperors 
Sep. Severus and Constantius died, Hadrian lived, Caracalla mur- 
dered his brother Geta, Constantine was proclaimed emperor, the 
Northumbrian King, Edwin, was baptized into the Christian faith 
a.d. 627, and the first Parliament of England was held. King 
Harold was at York when he heard of the landing of Wm. the 
Conqueror ; and here Wm. built his first English Castle. The chief 
objects of interest are the Minster, the City Walls, St. Mary's Ab- 
bey, the Multangular Tower, and St. Leonard's Hospital. 



412 YORK 

The Minster is one of the most celebrated cathedral structures 
of England, and stands upon the place where Edwin was baptized. 
The present building was commenced prior to the year 1100, and 
completed 1472. Its length is 524 ft., breadth 250, and the height 
of the central tower 213. The s. transept, the oldest portion, is 
distinguished by small windows, slender columns, and sharp 
pointed arches. **The w. front, one of the most ornate facades 
ever erected, is in two distinct styles, the Decorated, extending 
from the base to the battlements (1340) ; and the Perpendicular, 
extending from the battlements upward (1455). *The principal 
portal, illustrating the history of Adam and Eve, is extremely rich. 

The Interior. The best general view of the interior is from the 
s. transept. In style, the transepts are Early Eng., and the nave, 
Eng. Decorated. The five lancet windows of the n. transept are 
filled with their original glass, and are known as the " Five Sis- 
ters." *The west window, 54 by 30 ft., also contains the origi- 
nal glass. **The great East Window, 76 ft. in height by 32 in 
width, is the largest window in Eng. still retaining the original 
glass, and is by many regarded as the finest window in the world. 
(Glazed 1405-8.) *The octagonal Chapter-house, with its geo- 
metric tracery, is considered as unsurpassed in England. The 
central tower rests on four massive piers with leafage capitals. 

The Walls of the city, 2£ mis. in circuit, are of diverse date and 
style. They may be ascended at the gates and afford numerous 
excellent views of the cathedral and the suburbs. 

St. Mary's Abbey was one of the first monasteries founded after 
the Conquest. The principal ruins are of the Abbey Church and 
the Hospitium of the Monastery. 

The Multangular Tower consists of 10 sides of a 13-sided Roman 
structure, 33 ft. in diam. The upper part is a mediaeval addition. 

St. Leonard's Tower, founded by Athelstane and rebuilt by Wm. 
and again by Stephen, was one of the best endowed hospitals in 
the north of England. The parts remaining are the chapel and 
the ambulatory. 

York gives the title of Duke to the 2d son of the Sovereign. 

Zurharan, Francisco (thoor-bah-rahn), 1598-1662, b. at 
Fuentes, Spain; d. at Madrid. One of the most eminent masters 
of the Spanish school. His subjects were of every variety, but 
his favorite one was monks ; was appointed painter to Philip IV., 
who called him " painter of the king and the king of painters." 

v 

Principal Works : Augsburg, 296; Berlin, 404A ; Dresd., 627; Edinb., 98; 
Hermit., 348, 349 ; Louvre, 555-6-7 ; Madrid, 1120-1-2-3-4-5-6-7-8-9, 1130-1-2-3 ; 



ZURI 



413 



Acad, de San Fernando, five; Munich, 351, 373; Nat. Gall., 230; Testh, 712?; 
Seville, 1, 7, 8, 46, 67, 74. 

Zurich (zoo'-rik), the Turicvm of the Romans, pop. about 
23,000, is delightfully situated at the foot of Lake Zurich on both 




^hWest. Zubich. East. ^~ 

sides of the Limmat ; that portion of the town on the right being 
known as the Grosse Stadt, and that on the left as the Kleine 
Stadt, It is more noted for its charming situation than for its 



414 ZURI 

internal attractions. The hotels Baur au Lac and Bellevue are 
both delightfully situated on the margin of the Lake. The most 
desirable points of view are the Terrace, the Hohe Promenade, the 
Katz, and along the Lake, the Bauschanze. 

The Cathedral, or Gross-Miinster, was erected in the 11th 
cent. , the gilt ornaments of the towers being added, 1779 ; on the 
west tower, is an effigy of Charlemagne in commemoration of 
favors received from him. The Hohe Promenade, on the height 
two or three squares to the left of the lake, at its termination, 
commands a most admirable view, and possesses also a monu- 
ment to the eminent composer, Nageli. On the opposite side of 
the town is the Botanical Garden, which contains 800 Alpine 
plants. The Katz, a portion of an old fortification near by, 
affords a fine view. 

Environs : The Burgli Terrace on the Uetliberg road, i ml. ; 
the Wied, to the n. w. , 3 mis. dist. ; and the Uetliberg, 6 mis. 
dist.; this commands a view of the Alps and the intervening 
country and lakes, scarcely surpassed for beauty in Switzerland. 

The Lake op Zurich, 25£ mis. long and 2£ broad in its 
widest part, though wanting the grandeur of Lake Lucerne, is 
nevertheless one of the most beautiful in Switzerland. The up- 
per portion of the lake lies in the midst of more rugged scenery 
than the lower. Boats leave about every two hours in summer, 
occupying 2£ hrs. for passage ; making the excursion in about 6 
hrs. 

Routes: To Bale, 2 hrs., $1.75; $1.25. To Lucerne, 2 hrs., $0.85; $0.60. 
To Coirb, 3 hrs., $3; $1.80. To Schaffhatjsen, 2 hrs., $1.20 : $0.85. 



PART II. 

CATALOGUE 

OF THE NOTED WORKS OF ART IN THE PRINCI- 
PAL GALLERIES OF CENTRAL EUROPE. 



" The Arts are Odious only to the Ignorant." 

— Inscription on the Berlin Museum. 

" TO BE CONVERSANT WITH THE ARTS OF GREECE IS TO MOVE 
AMONG A RACE OF GODS ENDOWED WITH PERPETUAL YOUTH."— 
St. jfohn. 

*• To these Great Masters doth Mankind owe its Knowl- 
edge OF THE BEAUFIFUL. " 

"Never judge a work of Art by its defects."— Washing- 
ton A lis ton. 



Note. — In every extensive Collection of Art, the number of works of 
great historic value or artistic merit is necessarily but a small proportion 
of the whole. The judicious visitor will, therefore, abridge his attention 
to the gallery in general, and devote his time and interest to those rooms 
and works which the catalogue indicates as most worthy of attention. 

The American, whose study of a gallery is likely to be somewhat 
limited, unless endowed with extraordinary powers of memory, should 
attempt nothing more than the recollection of the starred works. In- 
deed, if proposing to visit several galleries, these alone will prove 
neither a light task nor an unimportant acquisition. 

A part distinctly remembered is better than the whole held in con- 
fused uncertainty. 

When leisure permits, it is recommended to the visitor to make his 
selections of the more meritorious works without aid or hint from the 
guide-book. It will be found of great benefit to exercise, so far as pos- 
sible, an independent judgment upon the peculiar excellences or de- 
ficiencies of noted works before seeking the aid of criticism. 

Indeed, when the student learns that the most authoritative art critic 
of England declares Turner (an Englishman) to be " the greatest painter 
the world has seen ; " and that an equally weighty authority of Germany 
avers that Durer (a German) is the equal of any artist that ever lived ; 
and that another German critic announces that Correggio (an Italian) 
was no master, but ''merely an adept in chiaroscuro," he may be par- 
doned some abatement of faith in unprejudiced criticism, and some dis- 
position to independent opinion. 

The limited dimensions of a hand-book for tourists render impossible 
a specific mention of the less important galleries, many of which the 
art student would find worthy of a visit, and containing some of the 
best works of the great masters. Among these are the galleries at 

Brunswick : Ducal Museum ; 900 pictures ; Dutch masters ably rep- 

Bucla-Pesth : 800 pictures (50 Spanish), 50,000 engravings, 12,000 

drawings. 
Cassel : Picture Gallery ; rich especially in Rembrandt, Rubens, 

van Dyck, and Hals. 
Cologne : Museum ; examples of Cologne school of painting. 
Darmstadt : Containing the celebrated Holbein Madonna. 
Edinburgh : With many good English and Dutch works. 
Frankfort : Stadel Gallery ; noted for fine modern pictures. 
Geneva: With Raphael's Madonna of the Goldfinch. Seep. 214. 
Gotha : Friedenstein Palace Picture Gallery ; Dutch and Germaa 

masters. 
Haarlem : 300 pictures by Dutch and Belgian artists. 
Lille : Museum ; rich in drawings by old masters and copies of Italian 

artists. 
Lyons : Picture Gallery ; "a few good pictures." 
Parma : "Inferior pictures with names of great masters appended." 
Stockholm : With fine modern works. 

Turin : With Raphael's Madonna della Tenda. Seep. 221. 
Vienna: The Leichtenstein ; 1,500 pictures, among which are soma 

very fine works. 



CAUTIOIV. — As in some instances, in the following cata- 
logue, the location and the numbers attached to the works 
have been given as an aid to identification, the visitor is 
cautioned that, in some galleries, both the numbering and 
the location are subject to frequent change. 



CATALOGUE OF THE (*) NOTED WORKS 

IN THE 

PRINCIPAL COLLECTIONS OF ART. 



Albani Villa, Rome. 

Open Tuesdays (in good weather) from 10, in winter, and from 11, in 
summer, till dusk; closed during June, July, and August. Visitors 
obtain permit upon presenting a visiting card at the office in the Tor- 
Ionia Palace, No. 135 Piazza Venetia, ground floor, to the left. 

Many of the finest statues formerly here have recently been trans- 
ferred to the Torlonia Collection in the city. 

Casino — Ground Floor. — Statues of emperors, mostly with restored 
heads. 

Sala delta Colonna. — *Sarcophagus, with relief of the Marriage of 
Peleus and Thetis. 

Upper Floor — Oval Sala. — *Cupid, after Lysippus. 

Galleria Nobile. — *Minerva. 

3. *Mercury and Eurydice ; *Theophrastus. 

41. *Painting by Perugino, in six sections. 

€». "*Bas-relief of Antinous. Beep. 19. ^Shepherdess. 

y. *Greek relief, found 1764. 

©. Designs by Romano for his Myth of Psyche. 

f>. *ZEsop ; * Apollo Sauroktonos, bronze, much restored, regarded 
by Winckelmann as the original of Praxiteles {see p. 25) ; *Relief of 
the Apotheosis of Hercules. 

In the Bigliardo and the Caffd are also several inferior statues. 

Amsterdam, Rijks Museum (Royal). 

Open daily, ex. Mon., 10-3; 1 fr. ; Sun., free. 

Upon the completion of the present magnificent building the former 
collections of the Rijks and the van der Hoop Museums were united, 
making a collection of upward of a thousand pictures, with many mas- 
terpieces. The more noted works are in the centre, at the rear. 



418 



AMSTERDAM, RIJKS MUSEUM. 



Rembrandt : **The Night- Watch | 
(1642). Capt. Banning Cock's ! 
company of musketeers issuing ' 
from the guard-house — Capt. | 
Cock in the centre, in black; 
Lieut. Ruitenberg, in a yellow 
jerkin ; in the rear, Ensign Cor- 
lissen. 

This picture is regarded as one 
of the finest specimens of bold and 
effective chiaroscuro ever painted. 
"Ever since its creation it has been 
enthusiastically admired by all connois- 
seurs of art." — Baedeker. 
**Directors of the Clothmakers' 
Guild (1661). A masterpiece of 
portraits. **The Wife of Ad- 
miral Swartenhout ; A Jewish 
Bride. 
Van der Heist ; "^Banquet of the 
Guard (on the occasion of the 
Peace of Westphalia, 1648). In 
the centre is Ensign Banning; 
at the extreme right, Capt. Wits, 
in black, with a blue girdle, ex- 
tending his hand to Lieut, van 
Waveren, in a gold-embroidered 
gray doublet. 

"This is perhaps the first picture of 
portraits in the world." — Reynolds. 

*Presidents of the Arquebusiers of 
St. Sebastian at a Table ; **Mary 
Henrietta Stuart, widow of 
Prince William II. 

Steen : *Sick Girl and Physician ; 
* A Carousal ; *The Parrot Cage ; 
The Quack ; *Musicians ; *Na- 
tional Orange Festival. 

llondecoeter : **Ducks ; **Peli- 
cans ; Ducks and a Peacock — 
the "Floating Feather." 
" No one ever painted cocks and hens, 

ducks and drakes, and particularly 



chickens, so admirably as Hondecoeter." 
—Burger. 

Dow : **The Night-School. Noted 
for the treatment of the light 
and shadow of four candles. 
^Burgomaster and Wife (the 
landscape by Berchem) ; Himself 
Smoking; *An Inquisitive Girl 
and Group at a Table ; *Woman 
with a Bracelet ; **A Hermit. 

Hbbbema : *House and Barn ; 
*Mill. 

Ruisdael : *Waterfall ; « Water- 
fall ; *Chateau of Bentheim ; 
^Landscape; ^Northern Land- 
scape. 

JDu Jardin : ^Syndics. 

Maas : *The Reverie. 

Weenix : *Dead Game ; **Gaine 
and Fruit. 

Metsu : *The Old Toper. 

FlincJc : ** Arquebusiers. 

Huysum : *Flowers. 

Berchem : *Landscape. 

W. van de Velde : * Amsterdam. 

P. Potter : *Landscape, with Cat- 
tle. 

Neefs : Antwerp Cathedral. 

Van Utrecht : *Still Life. 

Both : Landscape, with Water- 
fall. 

A. van de Velde : Landscape, with 
Himself and Family. 

Rubens : *Helen Fourment. 

Van Dyck : *Portrait. 

JSfetscher : **A Lady (**satin). 

Bronzino : Judith, with the Head 
of Holoferaes, after Allori. 

Van. der Werff: **Himself ; *Dan- 
cers. 

Schalken : Peasant Scene. 

Cuyp : ^Landscape, with Cat- 
tle. 



ANTWERP MUSEUM. 



419 



Antwerp Museum. 

Open daily, 9-5 ; winter, 9-4 ; 1 fr. ; Sun. and Th. free. 

In the Entrance Hall are frescos by de Keyser, illustrative of the 
Flemish school of art. The principal figure is Antwerpia distributing 
wreaths to the great masters. In the central painting are 52 figures ; 
in the side pictures, 42 each. 



Saloon 1. 

VanBree: *The Death of Ru- 
bens. 

Jordaens : The Last Supper ; * Ad- 
oration. 

Rubens : **Crucifixion. 

*' Considered by many to be Rubens's 
chef-d'oeuvre."— Baedeker. 

"This is certainly one of the first 
pictures in the world for composition, 
coloring, and correctness of drawing. 
The convulsive agony of the malefactor, 
who has torn one foot from the nailing, 
is wonderful in expression, whilst the 
profile of the Magdalen is the most 
beautiful I ever saw by Rubens or any 
other painter. 1 ' — Reynolds. 

* Adoration. This picture, with its 
twenty - four figures, besides 
horses and camels, whilst full of 
the bold composition and effect 
of Rubens' s work, is wanting in 
the impressiveness of the pre- 
ceding. 

De Braekeleer : Defence of Ant- 
werp against the Spanish. 

Quellyn : The Pool of Bethesda 
(29 ft. in height). 

Centre: Statue of the Fighting 
Amazon, by Kiss ; Bust of Ru- 
bens, by Willemsens. 



Saloon 2. 

Floris : Fall of the Angels. 
Matsys: **Dead Christ. 

236. 
Rubens : *Christ a la Paille 



See p. 



Rembrandt : *Saskia Uilenberg, 
his first Wife ; *Communion of 
St. Jerome ; Virgin and St. 
Anna. 

Jordaens : *The Piper. 

VanByck : *Dead Christ ; *Pieta. 

Saloon 3. 
Copy of van Eyeless Adoration of 

the Lamb. See p. 6. 
Copy of van Dyck\s Caesar Alex. 

Scaglia. 
MuriUo : St. Francis. 

Saloon 4t. 
Rubens: **Holy Family; Christ 

on the Cross ; Dead Christ. 
Terburg : Mandolin Player. 
Wouverman : Horseman reposing. 

Saloon 5. 

At the entrance, r. four small 
pictures formerly attributed to 
Mending, but now believed to be 
the work of Horebout. The 
armorial bearings give the date 
of 1499. 

Matsys: *Head of Christ; *Head 
of Mary. These two were for- 
merly attributed to Holbein. 

Van Eyck : *St. Barbara (un- 
finished). *Madonna, Child, and 
two Angels ; *Virgin and Child 
(copy). 

Van der Weyden : *Sacrament, 
two wings. *Portrait; Annun- 
ciation. 



420 



BERLIN ROYAL MUSEUM. 



Hobbema: **Mill (100,000 frs.). 
Holbein : Erasmus. 
Da Messina : Crucifixion (1475). 
S. Ruisdael : Still Water. 
J. Ruisdael : Landscape. 
Jordaens : Portrait of a Lady. 
1. van Ostade: Winter. 
A. van Ostade: Smokers. 
Cuyp : Horsemen. 



Memmi : Annunciation ; Cruci- 
fixion and Descent. 

Cranach : Adam and Eve ; Char- 
ity. 

Gossaert : Holy Women ; The Just 
Judges. 

Rembrandt : A Jew ; The Young 
Fisherman. 

Steen : Samson. 



Barberini Palace, Rome. 

Open daily, ex. Sun., 13-5 ; Th., 2-5, Noted especially for Raphael's 
Fornarina and Guido's Beatrice Cenci. 

Room 3. Guido : **88. Beatrice Cenci. The legend that the pict- 
ure was sketched in the cell the night before her execution is now gen- 
erally discredited. Seep. 73. Gaetani: 85. Lucrezia Cenci, mother of 
Beatrice. Caravagglo : 84. Step-mother of Beatrice. Diirer : *Christ 
among the Doctors. Del Sa rto: Holy Family. Raphael: *86. Fornarina. 

Berlin. National Gallery. 

Open daily, ex. M., 11-3; Sun., 12-2; free. A collection of about 
500 modern paintings. Opened 1876. 



Bellermann : *The Guachero Cav- 
ern, in the Cordilleras. 

Karl Sohn : *The Rape of Hylas. 

Achenbach : *Market in Amalfi. 

Richter : **Jairus's Daughter. 

Spangenberg : *The March of 
Death. 

Inner : *Dick See, Holstein. 

Scheurenberg : *The First Com- 
munion. 

Hertel : ^Northern Sea Scene. 

Knille : *Tannhauser and Venus. 

Oeder : *November Day. 

Scherres : **Flood in East Prussia. 



Henneberg : ^Pursuit of Pleas- 
ure. 

Ainmiiller : ^Westminster Abbey. 

Meyer : *The Little Housewife. 

Wach : *Psyche surprised by 
Love. 

Harper : *Theatre of Marcellus at 
Rome. 

Ainmiiller : *Byzantine Church. 

Hasenpflug : Catherine of Halber- 
stadt. 

Magnus : Jenny Lind. 

Flamm : *A Glimpse of Cumae. 

Calame : *Lake of Lucerne. 



Berlin Royal Museum. 

Sculptures and Paintings. Open daily, ex. M., 10-4; winter, 10-3. 
No fees or gratuities, except for umbrellas. 

The Gallery op Sculpture, which formerly contained about 1,000 
specimens, the most of which were of inferior value, has recently been 
greatly enriched by marbles from Pergamon. These are at present in 
the east wing. 



BERLIN ROYAL MUSEUM. 



421 



Among the most noted works are : 

Sculptures : **Nike, or Victory, by Paeonius, an assistant of 
Phidias ; ' l the first well-authenticated sculpture by a Greek master yet 
discovered ; " * Apollo Citharcedus ; **Polyhymnia ; "*Euterpe ; ** Pray- 
ing Boy, bronze, found in the Tiber; purchased by Fred, the Gt. for 
#8,000 ; *Torso of Cupid ; ^Mercury ; Caesar ; * Augustus ; *Napoleon ; 
*Hebe, by Canova. 

Ground Floor. — *The Antiquarium contains the celebrated treasure 
of silver plate, of the time of Augustus, found near Hildesheim, and a 
cabinet of 50,000 coins. 

Paintings. — Upper Floor. 

Bubbles ; A Cottage ; Girl at 
Toilette. 

Pinturicchio : Adoration of the 
Magi 

Rajihael : *Christ in Sepulchre ; 
Adoration ; **Diotalevi Madon- 
na. See p. 209. ^Madonna coi 
Bambino. See p. 209. "^Ma- 
donna di Casa Colonna. Sec p. 
209. Madonna with the Thistle- 
finch. Seep. 209. 

Rembrandt : *Duke Adolphus 
threatens his Captive Father. 

Ruisdael : Haarlem ; Amsterdam ; 
*Coast Scene ; ^Landscape. 

Titian : Himself ; *His Daughter. 

Terburg : *A Soldier ; Portraits ; 
*Paternal Admonition. 

Teniers: ^Temptation of St. An- 
thony. 

Velasquez : Cardiual Azzolini. 

Watteau : ^Rustic Meal. 



Brouwer : An Inn. 

Correggio : **Jupiter and Io ; 
**Leda and the Swan ; Head of 
Christ. 

Van Dyck : *Prince Thomas de 
Carignan ; *Children of Charles 
L of England. 

Van Eyck : **Wings of the Ado- 
ration of the Lamb ($75,000). 
Seep. 6. 

Fra Bartolommeo : * Assumption. 

F. Francia: *Pieta; two Ma- 
donnas. 

De Heem : Fruit, centre Virgin. 

Lievens : Isaac blessing Jacob. 

Mending : Elijah ; The Passover ; 
Annunciation. 

Murillo : ^Magdalen ; Madonna, 
St. Anthony, and Infant Christ. 

Moretto : Adoration of the Shep- 
herds. 

Van der Meer : *Boy blowing 

The New Museum consists of a large and exceedingly valuable col- 
lection of casts of Greek and Roman works, a Museum of Northern 
Antiquities, an Ethnographical Museum, and an Egyptian Museum. 

Collection op Casts— First Floor. — Entering by the passage from 
the Old Museum. 

1. Roman Cupola, Saloon, with statues and mural paintings. 

2. Mediarval Saloon. — Casts from mediaeval churches. 

3. Small figures of Greek and Roman works. 

-1. Niobe Saloon. — Casts of the Niobe group at Florence; Jupiter, 
Juno, Athletes, and Venuses. 



422 



BOLOGNA, ACADEMY OF FINE ARTS. 



5. Greek Cupola Saloon. — Minerva, Hercules, Menelaus. 
©. Farnese Bull, Apollo, Laocoon. 

7 m Greek Saloon. — Groups from the Parthenon, from the Temple of 
Minerva at ^Egina. 

8. Grand Staircase, with six **paintings, by Kaulbach. — 1. Fall 
of Babel : Nimrod in the centre with the children of Ham ; r. those of 
Japheth ; 1. of Shem. 2. Greece : Homer in a boat, poets, sculptors, 
and architects listening ; the gods above. 3. Destruction of Jerusalem : 
High Priest in front; r. fleeing Christian family; 1. Ahasuerus. 4. 
** Battle of Huns : u The slain rose during the night and fought mid- 
air ; " above is Attila. 5. Crusaders at Jerusalem : Godfrey, Peter the 
Hermit ; 1. Group of Minstrels. 6. Reformation : Luther, Melanchthon, 
Zwingle, Calvin, Wyckliffe, Huss ; groups of scholars and artists : Co- 
pernicus, Galileo, Kepler, Newton, Columbus, Diirer, Holbein, da 
Vinci, Raphael, Shakespeare, etc. 

9. Modem Art Saloon. 10. Mediarval Saloon. 

Ground Floor. Entrance by stairs below the Grand Staircase. 
To the right, the Museum of Northern Antiquities and the Ethnograph- 
ical Collections. To the left, the Egyptian Museum. 

1. Mythological Saloon, with Mummies and Sarcophagi from Thebes. 

2. Saloon of Tombs, from Memphis, dating from 3000 to 2000 B.c. 

3. Hypostyle. — Cases of papyrus rolls. 

4L. Historic Saloon. — Priests, kings, gods, etc., 1700 to 500 B.C. 
5. Court of Columns, representing an Egyptian Temple, with an altar 
in the centre ; on the r. Usortesen ; 1. Rameses II. ; centre, Sphinxes. 

Bologna, Academy of Fine Arts. 

Accademia delle Belle Arti. Open daily, 9-3 or 4 ; 1 fr. ; Sun- 
day, free. 

Ground Floor. — Casts and works of Modern Art. 
First Floor. — Picture Gallery and collection of weapons. 



*M 


r r" 
i i 


2 


1, 


1 








5 


1 
| 


. 1 


a 








< 


*- 


Entrance, 







BORGHESE GALLERi 



423 



Room 1. — Gnalo: ""'142. Ecce Homo (drawing). 
Gnercino : St. Peter. 

Room 2. — Ag. Carracci: *34. St. Jerome; Assumption. An. Gar- 
racci : *36, 37. The Virgin. L. Carracci : *42. The Virgin ; Birth of 
John Baptist ; Conversion of St. Paul. 

Room 3. — F. Francla : *Madonna and Saints ; Madonna ; Dead 
Christ. Gio. Francia : *84, 87. Madonnas. Da Imola : *Michael. 
Parmcgiano : *Holy Family. Raphael : **St. Cecilia. See p. 72. 
Peritgino : *Madonna. 

Room <4. Guido Room. — Gnldo : *Madonna; *The Crucifixion; 
^Massacre of the Innocents ; *Samson ; Madonna del Rosario (on silk); 
St. Sebastian ; St. Andrew. 

Borgliesc Gallery. 

Open M., W., and F., 9-3 ; closed, July and Aug. ; fee, 3^ fr. 
The most valuable private collection in Rome, containing nearly 900 
pictures. Hand catalogues will be found in each room. 







a- En 


trance. 






8 


9 

i 










1 


2 




6 


7 


,,],> 


5 








11 


10 




a 




LL 





Room 1 .—Botticelli : * Madonna. Di Credi : *Holy Family ; *Holy 
Family. Solario ? : *Ecce Homo. D'Oggione : Young Christ. Ghir- 
landaio : *A Youth, erroneously supposed to be a portrait of Raphael. 
Da Vinci : *Leda and Swan. School of da Vinci : *Madonna. Pol- 
laiuolo : *Holy Family. 

Room 2. — Garofalo : *Dead Christ. Romano : *Copy of Raphael's 
Julius II.; **Copy of Fornarina. Sodoma : ^Madonna ; Copy of 
Raphael's Mad. col. divin' amore, at Naples. Seep. 220. ^Portrait 
(Caesar Borgia ?) ; ^'Entombment. See p. 329. His last work before 
going to Rome. Copy of Raphael's Madonna Casa d'Alba. Seep. 223. 
F. Francia : *St. Stephen. 

Room 3. — Parmegia?io : ^Portrait. Dossi : Circs ? Del Sarto : 
*Madonna. Correggio : **Danae. Del Piombo : *Christ. 

Room 4. — Domenichino : *Cuma3an Sibyl. Cagnacci : *Sibyl. 

Room 5. — Albani : *The Seasons, four pictures. 
Domenichino : *Diana and Nymphs. 

Room 6. — Sacchi : ^Portrait of O. Giustiniani. 

Sassoferrato : The Three Ages of Man. 



424 BRERA. 

Room 8. — *Villa Borghese in the 1 7th century. *Head, School of 
Da Vinci. 

Room 9. — A collection of frescos, three of which, the Marriage of 
Alexander and Roxana, the Nuptials of Vertumnus, and the Contest of 
the Gods, are attributed to Raphael, though apparently with little reason. 

Room lO. — Titian : *Venus and Cupid ; St. Dominic ; **Earthly 
and Divine Love. Pordenone? : *Portrait. Qiorgione? : *David. 
Gio. Bellini : *Madonna. 

Room 11. — L. Lotto : *Madonna and Saints. Bonifazio : *The 
Prodigal's Return. Gio. Bellini ? : ^Portrait. Palma, Vec. : Holy 
Family. 

Room 13. — Dutch and German. — Van Dyck: Crucifixion; *En- 
tombment. D. Teniers : *Tavern Scene. Perugino : *Portrait of 
Himself. Bakhuisen : *Sea Scene. 

Adjoining is a small room containing a number of less important 
pictures ; usually closed, but will be opened by custodian if desired. 

Borghese Villa, Pome. 
Entrance on the r., outside the Porta del Popolo. Grounds open to 
the public daily, ex. M. Gallery open Sat., 1-4, winter ; 4-7, summer. 

lvn| vi I V I Room 3. *10. Priestess. Room 

i | | i I 3. *1. Juno ; *11. Rape of Cassan- 

dra. Room 41. 21. Venus. Room 
5, Centre : Apollo and Muses ; *13. 
Anacreon sitting. Room 6. Deco- 
rated with the story of Galatea by 
De Angelis. The busts of the Caesars 
a, a, Candlebras. are mo a ern- Centre : Porphyry urn 

from the tomb of Hadrian. Room 7. *2. Boy with Bird ; *4. Captive 
Boy. Mosaics in the floor were found on the road to Tivoli. Room 
8. Centre : *Tyrtaeus ; *2. Athena. Room 9. Centre : *Boy on Dol- 
phin. *16. Bacchante ; *Dancing Faun. 

Upper Floor, % fr. Three groups by Bernini. Room 1. Apollo 
and Daphne. Room 3. iEneas and Anchises. Room 3. David and 
Goliath. 

In the 4th room is Canova's celebrated Venus, after Pauline Bona- 
parte, sister of Napoleon. Seep. 390. 

Br era, The, or, Palace OF Science AND Art, Milan. 
Open daily, 9-3; summer, 9-4; 1 fr. Sun. and Thurs., 12-4, free. 
Court, centre. — *Bronze Napoleon I. as a Roman Emp. , by Canova. 
Around the walls, eminent civilians and scholars. 
The Museo Akcheologico.— Admission daily, 10-3; Sun., 2-4. 



"J « IT. 
I a i a L— 



BREBA. 



425 



On the ground floor (50c. ), occupying two rooms, comprises a collection 
of antique and other sculptures, frescos, armor, bronzes, terra-cottas, 
majolicas, etc. 
The Picture Gallery, 24 rooms, with about 800 pictures. 



- — n — i r 

4 5.6.7 



E 



J L 



Li 9 j 



10 



13 



a 



U 



ii " ""? 

1 12 a 



(I Entrance 
J—J 



The names of the artists and school are marked on the principal 
works. 

The Vestibule contains about 80 pictures, principally by Luini ; un- 
important. 

Sala 1. — D'Oggione : Satan and Angels. Borgognone : Assump- 
tion of the Virgin. Da Sesto : Virgin and Child. 

Sala 2. — Garofalo: *Dead Christ. Palma, Vec. : * Adoration. 
Gio. Bellini : **St. Mark. Grevelli : *Saints. Murano : *Madonna 
and Saints. 

Sala 3. — Tintoretto : *St. Helen and others. Veronese : *Adora- 
tion. Bonifazio : *Moses. 

Sala 4. — Titian : #St. Jerome ; Head of a Man. Lotto : *Three 
Portraits. 

Sala 5. — Mantegna : *Dead Christ ; remarkable foreshortening. 
Raphael : **The Sposalizio — the Marriage of the Virgin. See p. 328. 
Da Vinci : *Head of Christ. Luini : *Virgin and Child. Mantegna : 
*Christ in the Sepulchre ; Madonna, and Sts. John and Luke. 

Sala 8. — Guercino : ** Abraham and Hagar. F. Albani: *Proser- 
pine and Cupids. Guido : *St. Paul reproving St. Peter. 

Sala lO. — Rembrandt : **Portrait of a Lady. Van Dyck : *Por- 
traits ; ^Virgin, Child, and St. Anthony. Rubens : *The Eucharist. 
S. Rosa : *Purgatory. Velasquez : *Sleeping Monk. 

Sala 11. — Used for copyists. 

Sala 12. — Contains a number of *cattle pieces by Londonio. The 
remaining 1 2 saloons are devoted to sculptures, principally casts of an- 
tiques, and of the works of Angelo. A few modern pictures are also to 
be found in some of the saloons. 



420 



BRITISH MUSEUM. 



British Museum. 

Open, free, every week-day at 10 ; Sat. at 12. Closes, Nov. to Feb. 
at 4 ; Mar. , Apr. , Sept. , Oct. at 5 ; May to Aug. at 6 ; M. and Sat. , July 
15 to Aug. 31, at 7 ; M. and Sat., May 8 to July 15, at 8. 

Closed from the 1st to the 7th of Feb., May, and Ocfc. ; also the Sculpt- 
ures, on W. and F. 



16 



29 



18 



~7J 



27 



16 



17 19 26 



15 



23 



20 



25 



13 



24 



3J 



11 . 10 



1, Entrance. 15, 

2, Entrance Hall. 16, 

3, 7, 29, Stairs to Zoological Rooms. 17, 

4, G-renville Library. IS, 

5, Manuscript Saloon. 19, 

6, Royal Library. 20, 

8, Roman Gallery. 21, 

9, I. Grasco-Roman Saloon. 23, 

10, II. Graeco-Roman Saloon. 24, 

11, III. Graeco-Roman Saloon. 25, 

12, 22, Stairs to Assyrian Basement. 26, 

13, Lycian Gallery. 27, 

14, 28, 



Elgin Room. 
Hellenic Room. 
Kouyunjik Room. 
Nimroud Central Saloon. 
Nimroud Gallery. 
Assyrian Side Room. 
Assyrian Basement. 
Assyrian Transept. 
Southern Egyptian Gallery. 
Central Egyptian Gallery. 
Northern Egyptian Gallery. 
Northern Egyptian Vestibule. 



Catalogues of the various departments at the entrance (2). 
4k, Grenville Library, containing over 20,000 vols., some of them 
among the earliest printed works known. 



BRITISH MUSEUM. 427 

5. Manuscript Saloon — Case I. — Autographs of celebrated men : 
Angelo, Addison, Calvin, D'drer, Newton, Nelson, Washington, Welling- 
ton, etc. Case II— Sovereigns: Ed. IV., V.; Henry VII., VIII.; 
Mary, Elizabeth, Jane Grey, Mary, Queen of Scots, Cromwell, Gus. 
Adolph., Peter the Gt., Ch. XH., Fred. theGt., Louis XIV, Nap. 1. 

The remaining cases contain autographs, royal charters, prayer-books, 
etc. , of great interest. 

6. Royal Library of 80,000 vols., collected by George in. The 
cases contain various works of the greatest value, as specimens of 
typography, binding, and illumination of nearly all civilized nations. 
VI. Italian ; Vn. Italian and French ; VIII. English ; IX. Fine Print- 
ing ; X. Illuminations ; XL Engravings and Woodcuts ; XII. Auto- 
graphs of the authors and owners ; XIII. Literary Curiosities ; XIV. 
Fine bindings. 

8. Roman Gallery. 

To the left, Roman relics found in England. To the right, on the 
wall, Roman portrait sculptures. 2. Julius Caesar ; 3. Young Augus- 
tus ; 4. Augustus ; 5. Tiberius ; 10. Claudius ; *11. Nero ; 12. Otho ; 
14. Domitia ? ; 15. Trajan ; 17, 18, 19. Hadrian ; 20. Antinous crowned ; 
21. Sabina, wife of Hadrian; *24. Ant. Pius; 25, 26, *27. Marcus Au- 
relius ; 28. Faustina, wife of M. Aurelius ; 29, 30, 31. Lucius Verus ; 
32. Lucilla, wife of Lucius Verus ; 33. Commodus ; 34. Crispina, wife 
of Commodus ; 35. Pertinax ; 36. Sept. Severus ; 37. Caracalla, head in- 
clined ; *45. Equestrian, Caligula ? ; 55, 56. Demosthenes ; 65, Diog- 
enes ; 95. Caracalla ; 99. Jupiter Ammon ; 100, 101, 102. Jupiter Serapis ; 
103, 104. Minerva. 

9. First Grjeco-Roman Saloon. 

111. Juno, after Polycletus (?); 112, 113. Diana ; *114. Apollo Citharce- 
dus, similar to the ones at Rome and Naples; 115. Apollo, head only 
antique ; *116. Venus, after Praxiteles ; *117. Homer, found 1780, 
Baiae ; *118. Dancing Satyr ; 120. Diana Venatrix ; 122, 1 24. Jupiter ; 
123, 125. Minerva. 

10. Second Gr^ico-Roman Saloon. 

*135. Discobolus, copy from the bronze of Myron, much restored ; 
*136. Towneley Venus, found at Ostia. See p. 394. *137. Dione ? ; 
*138. Apollo ; *140. Young Bacchus. 

11. Third Gr^eco-Roman Saloon. 

*141, 142. Hercules ; 143, 145. Cupid; 148. Endymion; *149. Clytie?, 
possibly Agrippina; 150. Amazon; *151. Greek Hero, original; *155. 
Thalia, found at Ostia ; 163. Mithras sacrificing a Bull ; 165. Actaeon 
devoured by his Dogs ; *171. Mercury; 181, 183, 184. Satyrs ; 196. Girl 
playng with Astragali ; 198. Ariadne and Panther ; 201. Eros Asleep. 



428 BRITISH MUSEUM, 



Rooms 14 and 15 are now being rearranged. 



**16. Elgin Room (g hard). — This room contains marbles, chiefly 
from the Parthenon, B.C. 440, brought from Athens by Lord Elgin, 
1801, at a cost of #350,000. On the L is a model of the Parthenon as 
remaining after the bombardment by the Venetians, 1687. 

The statues on the 1. side of the room are from the eastern pediment, 
and represent the birth of Athena from the head of Zeus. On the wall 
are fifteen Metopes from the s. side of the Parthenon. On the r. are the 
remains of the western pediment, representing the contest of Athena 
with Poseidon for the ioil of Attica. 



BRITISH MUSEUM. 429 

Around the room, in a continuous line, are slabs from the frieze of the 
cella, arranged, as nearly as possible, in their original order. The sub- 
ject of the reliefs is the Panathenaic procession, celebrated every four 
years. 

In the small room at the end, are a colossal lion from Knidos, 1858, a 
drum of a column from the Temple of Diana at Ephesus, and an Ionic 
capital and base of a column. 

17. Hellenic Room. — Collection of marbles from various parts of 
Greece. The most important part of this collection consists of 23 slabs 
from the frieze in the interior of the cella of the Temple of Apollo Epi- 
curius, near Phigalia in Arcadia. 

J -11. Contest between Centaurs and Greeks. 
12-33. The invasion of Greece by the Amazons. 

18. Kouyunjik Gallery (koo'-un-jik).The Assyrian Galleries con- 
taining the collections of Mr. Layard, Mr. Rassam, and Mr. Loftus ; 
from Nimroud, Khorsabad, and Kouyunjik. 

The monuments from Nimroud are supposed to date B.C. 900 to 600. 
Khorsabad, about 720 ; and Kouyunjik, b. C. 700 to 600. 

The collection of bas-reliefs in this room (18) are from the palace of 
Sennacherib, and subsequently of his grandson Assurbanipal. Most of 
the sculptures were shattered by the action of fire ; some of the slabs 
reaching England in 300 or 400 pieces. 

2. A Galley. 4-8. Expedition of Sennacherib. 

15, 16, 17. Return from a battle. 20-29. Siege of a fortified city. 

45-50. Victories of Assurbanipal. 

57-59. City besieged by Sennacherib. 

The five tables in the middle of the room contain small objects dis- 
covered in various excavations. 

1©. Nimroud Central Saloon. — Containing sculptures from the 
great mound at Nimroud ; discovered by Mr. Layard. L. bas-relief, 
The Receipt of Tribute from Menahem, King of Israel ; *Colossal head 
of a human-headed bull, the largest yet brought to Europe. On the r. 
representations of sieges. Above are two heads — Tiglath Pileser II. 
and an attendant. 

**In the centre of the room is one of the most important historical 
monuments recovered from Assyria : a black marble obelisk, found near 
the centre of the great mound, decorated with five tiers of bas-reliefs 
and covered with cuneiform inscriptions, recording the annals of Shal- 
nianeser for thirty-one years, commencing B.C. 860. 

In the inscriptions are mentioned Jehu and Hazael. 

20. Nimroud Gallery. — 19 Two foreigners bringing monkeys as 
tribute. 

20. The King Assur-izir-pal. 



430 BRITISH MUSEUM. 

*21-26. The king and attendants returned from battle or chase. 

37-40. Religious rites. 

7 b-9 b. Passage of a river by the king and his army. 

10 b-12 b. Capitulation of a city. 11 a-13 a. Return from battle. 

13 b-15 b. Siege of a city. 

31-23. Assyrian Side Room and Basement Room. — Contain 
antiquities collected at Nimroud, 1853, by Messrs. Rassam and Loftus, 
many of them of the greatest interest and value. 

24L. Assyrian Transept. — Colossal human-headed lions and bulls 
from Nimroud and Khorsabad. 

**The Egyptian Galleries, 35, 36, 37, 38. — The monuments 
in this collection, occupying 4 rooms upon the first floor and two above, 
extend from B.C. 2000 to a.d. 640, and are arranged, as far as possible, 
in chronological order, commencing (room 25) with those of most re- 
cent date. The name and period will be found upon the labels. 

35. Southern Egyptian Gallery'. — Monuments and sarcophagi, 
principally of granite and black basalt, from the later Roman period to 
B.C. 1200. In the centre is the celebrated *Rosetta Stone, discovered 
by the French, 1799, near the Rosetta mouth of the Nile. It is inscribed 
with three languages : first, the hieroglyphic, a sacred Egyptian ; second, 
the demotic, or common Egyptian ; third, the Greek. It was from the 
comparison of these inscriptions that the key to the hieroglyphic lan- 
guage of Egypt was discovered by Young and Champollion. 

36. Central Egyptian Gallery. — Antiquities of the time of Ra- 
mesis the Gt. (Sesostris) ; colossal fist from Memphis. The sculptures 
principally represent the king and his officers. 

37. Northern Egyptian Gallery.— Of the time of the 18th Dy- 
nasty, the period of Egypt's greatest prosperity. 

Two black statues of King Horus ; two red granite lions from Nubia ; 
head of colossal ram from Karnak ; several statues of the cat-headed 
goddess Sekhet. Centre : colossal head of Tothmes III. The Tablet 
of Abydos, in a recess in the r. , of great value in determining the chron- 
ology of the dynasties ; found, 1818, in the temple of Abydos. 

3®. Northern Egyptian Vestibule. — Monuments of the first 12 
Egyptian dynasties, and the most ancient sculptures in the museum, 
from which it will be inferred that at this early period art had made 
great progress. 

Second Floor. — Ascending the principal staircase (3) and turning 
to the right we enter a room devoted chiefly to collections of mediaeval 
glass. 

British and Mediceval Room. — Antiquities found in Great Britain 
and Ireland. 

Cases 1-4LS. British Antiquities anterior to the Romans. 

Cases 43-75. Roman Antiquities found in Great Britain. 



BRUSSELS MUSEUM. 431 

Cases 70-96. Anglo-Saxon Antiquities. 

The remaining cases contain various objects of later date. 

** Collection of Gems and Gold Ornaments. (Door near the entrance 
of the Mediaeval Room. Door closed ; ring the bell. ) 

Cases A and IS. Mediaeval and Modern. 

Cases C and I>. Great Britain and Ireland. 

Case E. Babylonian. Cases F to I. Greek and Early Etruscan. 

Cases E, WI, and 1%. Greek of the finest workmanship. 

**The Portland Vase, found in a tomb near Rome in the early part 
of the 17th century, and now owned by the Duke of Portland. It is 
of blue glass, with a design cut in opaque white glass, representing 
Peleus and Thetis on Mount Pelion ; on the reverse, Thetis consenting 
to be the bride of Peleus in the presence of Poseidon and Eros. 

In 1845 it was dashed in pieces by a madman, but was restored with 
such skill as to leave little trace of the misfortune. Diagram of the 
fragments on the right wall. 

Bronze Room,, containing Etruscan, Greek, and Roman work 

Two Vase Rooms, with vases and pottery from Italy, Greece, and 
other Mediterranean countries. 

Beyond there are several Egyptian Rooms, with an immense collec- 
tion of Egyptian Antiquities, embracing divinities, sacred animals, 
sepulchral objects, glass, pottery, sarcophagi, mummies, domestic im- 
plements, toilet articles, etc. 

*The New Reading-Room, entrance on the ground floor, opp. the 
main entrance, erected 1855, at a cost of nearly a million dollars, is 
140 ft. in diam. and 160 ft. in height, and has accommodation for 300 
readers or writers. 

The Library numbers over a million printed volumes, ranking second 
only to the National Library at Paris. Its collection of Hebrew books 
exceeds that of any other library, and its American books twice that of 
any library in the United States. It possesses the earliest printed book 
known — the Mazarin Bible. 

Brussels Museum, or, Palais des Beaux Arts. 

Contains about 600 pictures. Open daily, 10-3. 
Holbein, Tr. : **Thomas Morus. Leermans : ^Crucifixion. 
Sienese School : *Calvary. CJiampaigne: ^Presentation; Him- 

Cranach : *Eve. self. 

Van Eyck : *Adam and Eve. Be Grayer : ^Assumption of St. 

Mabuse : *Christ in the House of Catherine. 

Simon. j Schalken : *Game of Melted Wax. 

B. van Orley : *Dead Christ. | Be Grayer : *Draught of Fishes ; 

Van Conixloo : ^Relatives of the ' Martyrdom of St. Blaise. 

Virgin. ($18,000. ) \ Neefs : ^Antwerp Cathedral 



432 



CAPITOLINE MUSEUM. 



Van JDyck : St. Anthony ; St. 
Francis. 

Jordaens : *Miracle by St. Mar- 
tin ; * Allegory of Truthfulness. 

Rubens : *To Calvary ; Pieta ; 
Adoration ; Venus in Vulcan's 
Forge. [erine. 

Van Veen : *Marriage of St. Cath- 

De Crayer : **Pieta ; St. Paul 
and St. Anthony. 

Cuyp : A Stable. 
Van Dyck: ^Martyrdom of St. 
Peter ; *Silenus drunk. 

Rembrandt : **Portrait. 

Ruisdael : ^Landscape. 



Steen: *Twelfth Night; The 

Courteous Offer. (#4,500.) 
Bals: Hoornebeck. ($4,000.) 
Hobbema: *Forest. ($12,000.) 
Rubens : *Wife of Ch. de Cordes. 

($26,000.) 
Teniers, Yr. : *Village Doctor ; 

Flemish Fair. ($25,000.) *In- 

terior. ($6,000. ) 
Dow : **Himself . ($5,000.) 
Van der Heist : Himself and Wife. 
Teniers, Yr. : *Village Doctor. 
Rerchem : *The Repose. ($1,300.) 
Hals : Van Benthuysen, ($3,400.) 
Quido : *The Flight into Egypt. 



The remainder of the collection consists of modern paintings, some of 
which are of great excellence. 

Capitoline Gallery of Paintings (kap'-e-to-leen). See Palace 

of the Conservators. 

Capitoline Museum, or, Gallery OF Sculptures, Rome. 
Open daily, 10-3; fee, 50c. Sun., 10-1, free. 



GROUND FLOOR. 





10 



1, Entrance. 

2, 7, Corridor. 

3, 4, 5, Hall of Bronze?. 



6, Court. 

8, 9, 10, Hall of Urns. 

11, Stairs to first floor. 



Room 3. — Centre: Egyptian Vase, with a Palmyrene inscription on 
the base ; sarcophagus with hunting scene. On the walls, inscriptions 
and bas-reliefs. 

Rooms 4L and 5. — Sarcophagi and urns. Room 6. — Marforio. 

Room 8. — 1. Altar from Albano. 

Room ». — 4. Sarcophagus with battles, B.C. 225, between Romans 
and Gauls. 

Room lO. — Sarcophagus with scenes from life of Achilles : front, 
Dispute between Achilles and Agamemnon ; ends, Achilles with the 
daughter of Lycomedes, Greeks beseeching him to avenge the death of 
Patroclus ; Pluto, found in the Baths of Titus. 



CAPITOLINE MUSEUM. 



433 



Staircase 11, with Plans of Rome, executed under Sept Severus, 
found 16th century. 









FIRST FLOOR. 










#18 




19 




11 


17 










16 


15 


14, 


13 


l B 




_L 


1 1 





12, Hall of the Gladiator. 

13, Hall of the Faun. 

14, Saloon. 

15, Hall of Philosophers. 



16, Hull of the Emperors. 

17, Corridor. 

18, Venus Room. 

19, Room of the Doves. 



Room 12.— **Dying Gladiator. See p. 152. *Head of Dionysius ; 
*Antinous. Seep. 18. **Faun of Praxiteles. Seep. 130. 

Room IS. — *Faun in rosso antico, on an altar dedicated to Serapis, 
found in Hadrian's Villa ; 10. Juno Sospita ; ^Sarcophagus with battle 
of Amazons ; *23. Ariadne crowned. 

Room 141. — *1. Jupiter, nero antico ; *2, *4. Centaurs ; 3. Young 
Hercules, on an altar to Jupiter ; 5. ^Esculapius ; *28. Prefica, a hired 
mourner. 

Room 15. Hall of P7dlosop7iers. — Centre: -M. Claudius Marcellus, 
B.C. 212. Around the room, 93 busts of ancients. 1. Virgil?; 4, *5, 6. 
Socrates; 9. Aristides ; 10. Seneca; 21. Diogenes?; 22. Sophocles; 28. 
Alex, the Great; 31, 32. Demosthenes; 44, 45, *46. Homer; *49. Scipio 
Africanus ; 75. Cicero. 

Recent research renders doubtful the names attached to some of the 
statues of the philosophers. 

Room 1G. Hall of tJie Emperors. — Centre : Agrippina, grand-daugh- 
ter of Augustus, wife of Germanicus, mother of Caligula. This room 
contains 83 busts of the emperors and their families, and is the most 
complete collection extant. The names have been identified by coins. 
1. Julius Caesar ; 2. Augustus ; 3. Marcellus ; 4, 5. Tiberius ; 6, 7. Drusus ; 
9. Germanicus ; 11. Caligula ; 15, 16. Nero ; 21. Vespasian ; 22. Titus ; 
24. Domitian ; 37, 38. Marcus Aurelius ; 50, 51. Sept. Severus ; 53. 
Caracalla; 82. Julian. 

18. Reserved Cabinet. — ** Venus of the Capitol, supposed to be 
a copy of Aphrodite of Cnidos by Praxiteles ; found in a walled-up 
chamber in the Suburra, nearly perfect. See p. 391. *Cupid and 
Psyche ; Leda and the Swan. 

19. Room of the Doves.— *Mosaic of Doves at a Fountain, found 
at Hadrian's Villa, copy of a celebrated work by Sosius, mentioned by 



434 



DORIA PALACE. 



Pliny; ^Sarcophagus with Endymion and Selene. 
Dove. On the sides : Roman weights. 



Centre : Girl and 



Corsini Palace, Rome. 

The palace was formerly the residence of Queen Christina of Sweden, 
who here died, 1689 ; residence also of Michael Angelo for over a year, 
and of Erasmus for a time. 

Gallery open M., Th., and Sat., 9-3; % fr. Hand Catalogues in 
each room. 



Rooms 1 and 3, unimportant. 
Room 3. — Guercino : *Ecce 



8 


7 


1 1 

6 j 5 


i 


9 


2 


3 3 




10 




11 


1 





Woman. Murillo : 
*Portrait. Durer 
*Himself . Titian : 



Homo. C. Bold : *Madonna. J. 
Both : *Sunset. Titian : Philip II. 
of Spain. Saraceni : *Vanity. 

Room 4. — Guido : *Herodias. 
L. Carracci : *Two Heads. Biirer : 
*A Hare. A marble chair, supposed 
to be Etruscan ; a Corsinian silver 
vase. 

Room 5. — Bold ; *St. Agnes. 
Mdraita : Annunciation. 

Room €>. — Holbein : Portraits. 

Titian : *Mgr. Ghiberti ; *Children 

of Charles V. Rembrandt : *01d 

Holbein : *Caterina Bora. Van Byck : 

Rubens : 



*Head. 

Nativity of the Virgin ; *Cardinal, 
^Cardinal Alex. Parnese. 
Room T. — Murillo : ^Madonna. G. Poussin : *Landscape. Garo- 
falo : *Christ. Angelico : ^Descent of the Spirit ; *Last Judgment ; 
*Ascension. Titian : *The Adulteress. 

Room 8. — G. Poussin: *Pour Landscapes. Cabinet. — Guido: 
*Ecce Homo. Lo Spagna : *Madonna. 
Room 9. — & Rosa : Three Battle-pieces. 

Room lO, generally closed; opened if requested. Ancient mosaic 
of Unmanageable Oxen, and bronze relief of the Rape of Europa, Cellini. 
*T7ie Library comprises one of the most valuable collections of en- 
gravings known. 

" The Garden, in the rear of the palace, commands an admirable view 

of Rome. 

Doria Palace, Rome. 

The most magnificent of all the Roman palaces. Gallery open Tu. 
and Fr., 10-2; % $*• Entrance to the court is No. 305 Corso; to the 
Gallery, in the court, to the left. 

The collection numbers nearly 1,000 pictures, of which but a limited 
number are masterpieces, the best being in the galleries. 



DRESDEN GALLERY. 



435 



,-Fl 



0. 



9 10 



12 



11 



13 



14 



D 



Catalogues in each room. Several of the smaller rooms badly 
lighted. 

Room !8. — Valentin : ^Charity. Fra. Lippi : *Annunciation. Hol- 
bein: Himself. Titian: *Boy and Lions. Centre: *Centaur, nero 
antico. 

Room 4. — Bril : 
^Landscapes. 

Room 5. — Mat- 
sys : *Money-Chang- 
ers. Poussin : Land- 
scape. 

Room ©. — Ma- 
ratta : ""Madonna. 

Room 8. — Lud. 
Carracci : *St. Se- 
bastian. 

11. First Gal- 
lery.— Claude : *The Flight into Egypt. Garofalo : *Elizabeth and 
Mary. N. Poussin : Aldobrandino Marriage. 

12. Second Gallery. — Francia (?) : ^Virgin and two Saints. 
Titian : ^Portrait. Brueghel : *The Elements, four pictures. Por- 
denone : *Herodias. Pa Vinci : * Joanna II. Correggio : *Glory and 
Valor, cartoon. 

155. Third Gallery. — An. Carracci : -Assumption ; ^Flight into 
Egypt. Claude: * Water Mill. An. Carracci: ^Nativity ; *Pieta; 
Adoration ; ^Entombment. Claude : * *Temple of Apollo ; *Diana. 
Giorgione : ^Portrait. 

The Cabinet, at the end, contains some of the best pictures of the 
collection. Raphael : *Venetian Heads. Memling : *The Deposition. 
Pel Piombo : ** Andrea Doria. Velasquez : *Innocent. Matsys : *The 
Misers. 

14. Fourth Gallery. — Mirrors and antique statuary of inferior 

value. 

Dresden Gallery. 

One of the finest and largest in Europe ; numbers about 2,500 paint- 
ings. 

Open daily, 9-3 ; winter, 10-3 ; free ; W. and Sat. , 50 pf . 



A 


21 Small Cabinets. 


N 
M 

L 


B 
C 


1 1 Y N 1 | 

D E F G H IK 

i 1 k A 1 1 




a- Entrance. G> 





436 



DRESDEN GALLERY. 



Hall A. 

Raphael : **Sistine Madonna. 
See p. 210. Copy of Raphael's 
Mad. della Sedia. Seep. 213. 

C. Dolci : *St. Cecilia. 

G. Romano : *Madonna della Ca- 
tena. 

Del Sarto : Holy Family. Copy 
of Raphael's *La Belle Jardin- 
iere. See p. 220. 

Hall C. 
Veronese : Presentation of Jesus. 

Hall I>. 

Correggio : **Holy Family ; **La 
Notte ; **Holy Family ; *Cupid. 

Da Messina: *St. Sebastian. 
Copy of Raphael's St. Cecilia. 
Seep. 72. 
Veronese : Finding of Moses. 

Del Sarto : ** Abraham and Isaac. 

Sigtwrelli : *Holy Family. 

Francia : *Baptism of Christ. 

Hall E. 

Veronese : *Marriage of Cana ; 
*Adoration of the Magi ; Christ 
at Emmaus. 

Titian: Venetian Lady; Virgin 
and Saints; Holy Family, with 
the Duke of Ferrara, wife, and 
son; *Young Girl; Titian's 
Daughter ; **Cupid crowning 
Venus ; Philip II (?) of Spain 
playing the Lute. 

Sassoferrato : **Sleeping Venus. 
Formerly attributed to Titian. 

Raima, Vec. : **Venus reposing. 

Hall F. 
Caravaggio : *Guard-Room; 

**Fortune-Teller. 
Lanfranco : *Peter penitent. 
Baroccio : *Entombment. 



Cantarini : Potiphar's Wife. 
Ouido : *Ninus and Semiramis. 

Hall Cr. 

12 Pieces of Flemish Tapestry. 
Those above, from Raphael's car- 
toons ; some of those below from 
cartoons by Matsys. 

Stairway to Upper Floor. 

Hall H. 

Zurbaran: A Saint declines the 

Papal Crown. 
Giordano : Susannah. 
Ghislandi : *Rembrandt. 
S. Rosa: ^Temptation of St. An- 
thony; *St. Jerome. 
Ribera : Paul the Hermit ; St. 
Lawrence ; St. Bartholomew ; 
Paul the Hermit ; St. Jerome ; 
**St. Mary of Egypt kneeling at 
her Grave. 
Murillo: **St. Roderiguez; ^Vir- 
gin and Child. 

Hall I. 
Van Dyck : Charles I. of England; 
Children of Charles I. ; Henri- 
etta Maria, wife of Charles I. 
Rubens: *Daughter of Herodias; 
Tigers with Young; *St. Jerome; 
*A Cavern. 
Velasquez : ^Portrait. 

Hall K. 
Van der Heist: *Wife of And. 

Bicker. 
Rembrandt : ** Artist's Wife ; 

** Artist and Wife ; Ganymede ; 

Samson's Wedding; *Sports- 

man; **Manoah's Sacrifice. 
Weenix, Tr. : *A Hare. 
Konincx : *A Hermit. 

Hall E. 

Rembrandt : ^Himself (?). 
Heda: **Still- Lif e. 



DULWICH GALLERY. 



437 



Hall JI. 
Rubens: ^Garden of Love; ** Judg- 
ment of Paris ; Mercury and 
Argus ; Last Judgment. 

Hall IV. 

Holbein: **Madonna. Seep.'ldlL 
H. Morett. 

Hall O. 

Several by Cranach. 

Hall I». 

Vaillant : *A Letter-board. 

The Cabinets. 
Da Vinci : * Virgin and Child. 
M. Angelo and Del Piombo : ""The 

Scourging. 
Unknown : *Virgin, Child, and 

John. 
Correggio : **Reading Magdalen. 

Seep. 226. 
Mbrando : *Portrait. 
Albano : *Diana and Nymphs. 
Gignani : *Potiphar's Wife. 
Albano : *Cupid. 
School of Carracci : *Death of St. 

Francis. 
Ouiclo : **Crowned with Thorns. 



Palma, Vec: *Holy Family; *Holy 
Family. 

Titian : **Tribute-Money. 

Nogari : *01d Man ; Miser. 

Wouverman : Combat ; Return 
from the Chase ; *A Halt ; *The 
Sutler's Tent ; A Camp. 

J. Ruisdael : * Jewish Cemetery ; 
*The Convent ; Landscape. 

J. Doth : Landscapes. 

Terburg : *Lady in Satin. 

Teniers, Yr. : Temptation of St. 
Anthony ; A Dutch Fair. 

Slingeland: *The Interrupted Les- 
son. 

Van der Werff: Chess; **The 
Expulsion of Hagar; **Magda- 
len ; **Judgment of Paris ; 
Venus and Cupid ; *Lot. 

Mieris : Studio ; **01d Scholar ; 
*A Tinker; **Studio; *Poetry. 

Schalken : Girls ; *Candlelight. 

Dow : *Candlelight ; ^Candle- 
light ; **Hermit ; *A Girl, can- 
dlelight; *Himself; The Dentist. 

Netscher : ^Toilette ; **The Pian- 
ist ; *Lady singing ; Mme. Mon- 



tespan. 

Dulwicli Gallery, London. 
Five miles from Waterloo Bridge ; by omnibus from Charing Cross ; 
or by railway from Victoria Station. Open daily, ex. Sun., 10-5 in 
summer, 1 0-4 in winter. About 350 pictures. 



Room 1. 

Gainsborough : ^Portrait. 
J. and A. Doth : *Landscapes. 
Tenders, Yr. : Landscape. 
Wouverman : *Landscape. 
A. Guyp : ^Landscape. 
Seghers : *Flowers. 
Dusart : *An Old Building. 

"A remarkably careful and choice 
picture." 

Dow : *A Lady. 
Cuyp : **Riding-School. 



Room 2. 

Wynants : ^Landscapes. 
Wouverman : *Landscapes ; Trav- 
ellers. 
Hobbema : *Water-mill. 
Weenix : ^Landscape. 
Cuyp : ^Landscape. 
Van de Velde : *High Wind. 
A. van Ostade : *Merry-making. 

Room 3. 

Tenters, Yr. : *Swine. 
Rembrandt : ^Portrait. 



438 



FLORENCE ACADEMY OF FINE ARTS. 



Wattean: *Fete Champetre; Bal 

Champetre. 
Rembrandt : *Girl at Window. 
Cuyp : *Landscape. 
Ruisdael : *Landscape. 



Clattde : 
View. 



Room 4. 
*Landscape ; Marine 



Murillo : *Spanish Flower-Girl. 
Wynants : *Landscape. 
Murillo : ^Spanish Boys, two. 
Raphael : *St. Francis of Assisi ; 

*St. Anthony of Padua. 
Velasquez : *Philip IV. of Spain. 

Room 5. 

Veronese : *A Cardinal. 
Reynolds : *Mrs. Siddons, 



Florence Academy of Fine Arts. 

Open daily, 9-3; 1 fr. ; Sun., 10-3 ; free. Free also on Th., in sum- 
mer. The pictures are arranged chronologically, illustrating the his- 
tory of painting. 

The Vestibule contains busts of painters and terra-cotta bas-reliefs. 



Hall op the Large Pictures. 
*1. Magdalen, 13th cent., Byzan- 
tine style. 
*2. Madonna, Cimabue. 
3. St. Humilitas, Buffalmacco. 
4-13. St. Francis, Giotto. 

15. Virgin and Saints, Giotto. 

16. Pieta, G. da Milano. 

17. Presentation, Lorenzetti. 
18-29. Life of Christ, Giotto. 

31. Entombment, Gerini ( C. & C). 
*32. Adoration, da Fabriano. 
33. Virgin and Sts. , Ag. Gaddi. 
*34. Descent, Fra Angelico. 

35. Coronation, di Niccolo. 

36. Virgin and Angels, Masaccio. 

37. Magdalen, del Castagno. 

38. St. Jerome, del Castagno. 

39. John Baptist, del Castagno. 
*40. Our Lady, Fra Lippi. 

41. Coronation, Fra Lippi. 
43. Baptism of Christ, Verrocchio. 
Angel on 1., by da Vinci, when a 
pupil of Verrocchio. 

46. Virgin and Sts., Botticelli ? 

47. Coronation, Botticelli. 

48. Martyrdom of SS. Cosma, Da- 
mian, and Anthony, Pesellino. 



49. Predella to 47, Botticelli. 

50. Nativity, Ghirlandaio. 
*51. Nativity, di Credi. 

52. Madonna, Botticelli. 

53. Christ in the Garden, Pern- 
gino. 

54. Virgin and Saints, Signorelli. 
*55. Assumption, Botticelli. 

56. Crucifixion, Botticelli. 

57. Descent, upper half by Lippi ; 
lower by Perugino. 

58. Dead Christ, Perugino. 

59. Saints, del Sarto. 

60. Virgin, del Sarto. 

61. Pieta, del Sarto. 

67. Resurrection, del Garbo. 

68. Dead Christ, and 

69. St. Vincent, Fra Bartolommeo 
*70. Trinity, Albertinelli. 

*72. Virgin and Sts., Albertinelli. 

75. Madonna. F. Granacci. 

76. Virgin, M. Ghirlandaio. 
78. Saints, Bartolommeo. 

88. Cosmo de Medici, Bronzina 
93. Annunciation, Allori. 
100. Pieta, Tito. 
102. Dead Christ, Bronzino. 
115. St. Francis, Cigoli. 



FLORENCE NATIONAL MUSEUM. 439 



Hall of Ancient Pictures, 
mostly by unknown artists. En- 
trance to the left of the entrance 



Sala dei Cartoni, containing 
original designs of the celebrated 
masters. First Floor, Galleria dei 



hall through the library. Quadri Moderni. [and models. 

Hall of Small Pictures. — 8, ; In the First Court, bas-reliefs 
•11, 19, 20, 24, 36, 37, 38, 40, *41, j In the Second Court, which is 
49, 50, Fra Angelica. *18. Peru- I designed for the Michael Angelo 
gino ? *26. Fra Lippi. 1 Museum, is Angelo's **David. 

Florence National Museum. 

Open daily, 10-4 ; 1 fr. ; Sundays, 11-2, free. 

This building, erected 1250, became in the 13th cent, the Hall of Jus- 
tice, and in the 17th a prison, the court being the place of execution. 
It was destroyed in 1858, restored in 1864 in its original style for ita 
present use. 

Ground Floor. — Weapons, armor, cannon, instruments of torture. 

First Floor. — Antique and mediaeval works of art. 

Vestibule.— Bell, cast by B. Pisano, 1228. 

Saloon 1. — Modern sculptures : r. Hercules and Hippolyta, Rossi ; 
David, Donatello ; Hercules and Centaur, Rossi: Victory, and Dying 
Adonis, M. Angelo ; St. John, Donatello ; Virtue and Vice, da Bo- 
logna ; Hercules and Cacus, Rossi ; ^Bacchus, M. Angelo ; *bas-re- 
liefs by della Robbia : and four by Donatello. 

Saloon 3. — Crystals, furniture ; Death of Christ, in wax, by Zumbo. 

Saloon 3. — Fayence and majolicas from Urbino and Gubbio. 

Saloon 4. — Formerly a chapel, afterward a prison in which the con^ 
demned passed their last night. *Frescos by Giotto. Window wall : 
Paradise, with portrait of Dante as a youth. See Giotto. 

Saloon «S. — Crystal, ivory, and wood carvings. 

Saloon ©. — Bronzes : *David, Donatello ; Mercury, da Perugia ; 
Juno, Apollo, da Bologna. 

Saloon *7. — Boy, Donatello ; **Mercury (see Mercury), da Bo- 
logna ; David, Verrocchio ; Cosmo I., Cellini; Abraham's Sacrifice; 
competitive works by Ghiberti and Brunelleschi. 

Second Floor. — Entrance from Saloon V. 

Saloon 1. — Frescos, by Castagno, 1450; Pieta, Ghirlandaio. 

Saloon 2. — *Terra-cottas : Head of John Bap., Donatello ; portrait 
of Cromwell ; furniture. 

Saloons 3 and 4L. — Tapestries, seals, etc. 

Saloon 5 (small). — St. John, Donatello. 

Salooji G. — Apollo, unfinished ; Christ, Virgin, and St. John, un- 
finished; Death of St. Andrew, unfinished; bust of Brutus; Mask of 
a Satyr, his first work, at 15 years — all by AT. Angelo. 



440 



THE GLYPTOTHEK- 



7 


8 


9 


. 


10 


6 










5 








ii 


4 










1 


3 


2 


a 


13 


12 



a — Vestibule. 



Glyptotliek, The, or Gallery OF Sculptures, Munich. 
Open M., W., F., 8-12 ; 2^1 ; in winter, 9-2 ; free. 
Each hall, both in specimens and decoration, is intended to represent 

a distinct period in the history of 

art. 

1. Assyrian Hall. — Human- 
headed lions from the palace of 
Sardanapalus III. 

2. Egyptian Hall. — Priests, 
gods, sphynxes, and obelisks. 

3. Hall of the Incunabula. 
— Early Greek and Etruscan art. 

1. JEginean Hall. — Two 
groups from the temple of Miner 
va, in iEgina ; 15 figures restored 
by Thorwaldsen. 

5. Hall of Apollo. — 80, 
Bearded Bacchus; 81, Jupiter Am- 
nion ; 86, Minerva ; *59, Female Head ; *90, Apollo Citharcedus ; 92, 
Pallas ; 93, Diana ; 79, Ceres ; 86, Minerva. 

6. Hall of Bacchus.— *95, Satyr, the " Barberini Faun ; " *96, 
Eirene and Plutus ; *99, Head of Satyr ; *102, Young Pan with horns, 
called u Winckelmann's Faun;" 104, Venus; 112, Ariadne; 114, Si- 
lenus and Bacchus. 

7» Hall of the Children of Niobe. — *128, Medusa ; -181, Venus 
of Cnidos, after Praxiteles (see Venus) ; 138, Clio ; **142, Torso of a 
Niobe Child, an excellent Greek original. 

8. Hall of the Gods. — Frescos, by Cornelius: 1, Orpheus beseech- 
ing Pluto to restore him Eurydice; 2, Nuptials of Neptune and Amphi- 
trite; 3, Olympus, Jupiter, Juno, Hercules, Hebe, and Ganymede. 
©. Hall of the Trojans. — Frescos relating to the Trojan War. 
1©. Hall of Heroes. — 149, Demosthenes ; 153, Alexander the Gt. ; 
154, Hannibal ; 157, Pericles ; 166, Socrates ; *151, Mercury. 

11. Hall of the Romans. — 178, Germanicus ; 183, Augustus ; 193, 
M. Aurelius; 199, Titus; 216, Cicero; 217, Hadrian; 272, Seneca; 
209, Augustus. 

13. Hall of Colored Sculptures.— *298, Ceres ; 304, Young girl. 
Centre : *295, Mosaic. 

13. Hall of Modern Masters. — *318, Paris, Canova ; 326, Van 
Tromp, Rmtch ; 327, Barbarossa, Tieck; *336, Adonis, Thorwaldsen. 



THE HAGUE MUSEUM. 



441 



Hague, Royal Museum of The. 

Open daily, 10-4 ; free. Small gratuity expected. Twelve saloons, 
and about 300 pictures, of which the more important are upon the 
upper floor. Artist's name attached to the pictures. Catalogue in 
French, 50c. 







3 








8 


9 


10 


2 






4 


7 






11 


1 




5 


6 


12 



First Floor. 



Second Floor. 



Room 1. 

Van der Weyden : *Descent from 

the Cross. 
Holbein : -Portrait. 

Room 2, 

*A Public Square. 

Room 3. 

Rubens : *Helen Fourment. 
TUborch : *The Repast. 

Room 4. 
Wm. the Silent ; his Wife ; and his 
Sons. 

Room 5. Portraits. 

The Hall. 
A Toilette ; *Pastoral. 

Room 6. 

Potter: *Cattle. 

Hoekgeest : **The Tomb of Wm. 
the Silent, in the Nieuwe Kerk, 
in the Groote Markt, Delft. 

Dow : **The Young Mother. 



liembrandt: **Presentation in the 
Temple. 

Room 7. 

Rembrandt ; **The Anatomical 
Lecture. See p. 830. *Flight 
into Eygpt. 

J. Both : *Italian Landscape. 

Room 8. Pastels. 

Room 9. 

Steen: *The Physician; *The 
Oyster Feast ; His Family. 

Hondecoeter : ^Poultry. 

P. Potter : **The Young Bull. See 
p. 320. 

Van der Heist : Portrait of P. Pot- 
ter. 

Berchem : *The Chase. 

Room lO. 

Titian : *Venus. 

Room 11. Unimportant. 

Room 13. 

Murillo : *Holy Family. 



442 HAMPTON COURT, 



Hampton Court. 

Palace and Gardens open daily, 10-6, ex. F. ; Sun., 2-6; winter, 
10-4 ; 12 mis. w. from London by S. W. rly. , from Waterloo sta. Built 
by Card. Wolsey and presented by him to Henry VIII. , and from his 
time to that of Geo. II. was an occasional royal residence ; Cromwell, 
the Stuarts, Win. III., Geo. I. and Geo. II., having made it their abode. 

Here, also, Ed. VI. was born ; and his mother, Jane Seymour, died ; 
and Henry VIII. married Catharine Parr; Queen Mary spent her 
honeymoon; one of Cromwell's daughters was married, and another 
died. 

The objects of interest are the Picture Gallery, Wolsey's Gothic 
Hall, the Gardens, the Walk by the Thames, the Maze, the Great Vine, 
and the Private Garden. For these latter, a small fee is required by 
the gardener. 

Picture Gallery. — The collection at Hampton Court numbers 
nearly 1,000 pictures, of which a very limited number will repay the 
visitor for an inspection. To compensate for this want of worth, it 
would appear that the happy device of affixing the names of the great 
masters lavishly and indiscriminately was invented to invite atten- 
tion. 

Miss Thompson, one of the best of English authorities, says : 

"In this gallery the names of the great masters are attached without warrant 
to numerous pictures. . . ." Baedeker also states, "Canvases of very little 
value are frequently assigned to the greatest masters, while, on the other hand, 
many genuine and important works are attributed to the wrong artist." 

In the following list those works only are noted which are believed to 
be genuine, unless otherwise indicated. 

The Second Presence Chamber. — Unknown : Diana and Actseon 
in a Landscape. Lotto : *Portrait. Titian : *Portrait. 

The Queen's Bedroom. — Correggio : *Holy Family. Francia: 
*Baptism of Christ. 

Drawing-Room. — West : **Death of General Wolf. 

Audience Chamber. — Palmedes: *Schevenmgen. Holbein: *Henry 
VIII. and Family. 

South Gallery — Unknown : *Portrait. Holbein : *Frobenius ; 
The Artist's Parents ; *Reskemeer. 

**Mantegna Gallery. — A series of pictures, called the Triumphal 
Procession of Cassar. The most valuable works of the whole collection. 
Painted by Mantegna in 1485. 



THE HERMITAGE. 443 



Hermitage, The, St. Petersburg. 

One of the most extensive art collections in Europe. The building 
is 515 ft. in length and 375 in width, the lower floor being occupied 
by sculptures, the upper by pictures. 

Ground Floor. — On this floor are antique sculptures, a Scythian 
coll. , a Siberian and oriental coll. , a coll. of engravings, colL of draw- 
ings, and a gallery of vases. 

For visiting these vast collections a guide is essential to one who 
would not miss the masterpieces, or who would economize time and 
strength. 

The gems are: Room 3. No. 60, Antinous. 3. 152, Jupiter, one 
of the largest known ; 154, Venus Genetrix ; 175, Minerva. 4. 207, 
Sail ust, only one known. 5. Jasper Vase, 16 ft. in diameter. 8. 
316, Faun. 9. 347, Venus ; **343, Venus of the Hermitage. 

Room 8. — The Kerteh Collection of Antiquities from Crimea. The 
Gallery of Vases comprises about 1,500 Greek and Etruscan vases, many 
of them of great beauty of design and execution. 

The Picture Gallery, Upper Floor. 

RoomS.— 18, Descent ($12,000), Piombo ; 59, 60, Oarofalo; 133, 
135, Tintoretto; 180, Domenichino ; 181, 184, 185, 187, 191, Guido ; 
254, St. Cath., Bold; 255, St. Cecelia, Bold. 

Room 3. — Six by Rubens, fourteen by van Byck. 

Room 1. — Fourteen by Murillo, three by Velasquez. 

Room £. — 13 A, 14, 15, da Vind. 

Room 5. — 37, Madonna ; *38, Madonna de la Maison d'Albe (see 
Madonnas, No. 46); 39, St. George and Dragon, all by Rap>hael. 

Room 6.— Holy Family, Raphael (#31,000). 

Room 7.-98, 99, Titian. 

Room 13.— **1051, the celebrated Farm Yard, by Paul Potter, 
ranking next his Young Bull. 

Room 13.— *792, Abraham's Sacrifice ; **797, Prodigal Son, both 
by Rembrandt, and 20 others also. 

Rooms 16, 17, 18.— Dutch School. 

Rooms 19, 3©. — Russian School, principally landscapes. *1594, 
1595, Nymphs. 

Rooms 18 to 39.— French School. 

Gallery of Peter the Great, containing innumerable objects of the 
greatest interest as connected with " Peter Gross ; " books, tools, ma- 
chines, ornaments, jewels, presents, etc., etc. 



444 



LATERAN MUSEUM. 



Lut'-eran Museum, Mus. Gregorianum Lateranense, Rome. 

From the time of Constantine till the last part of the 14th cent, the 
popes had their residence in the palace adjoining the Ch. of St. Gio- 
vanni Laterano. Upon the removal of the papal seat to the Vatican, 
the Lateran Palace was devoted to various purposes until 1843, when it 
was converted into a museum. 

Open daily, 9-3, except Sundays and festivals ; free, except fee to 
the custode. Ring the bell on the r, in the passage. 

The Ground Floor, comprising 16 rooms, is devoted to sculpture. 

The First Floor contains the Christian Museum and a picture gallery. 
Articles not numbered. 

GROUND FLOOR. SCULPTURES. 



14 


15 l 


u 1 

1 


13 






12 






11 


/ 




10 






9 






8 I i 


7 


. 


.1 

1 




Room 1. — 1. Abduction of Helen ; Two Pugilists, Dares and Entel- 
lus ; M. Aurelius ; Trajan; Nemesis; Mars and Rhea Silvia; Diana 
and Endymion. In centre : Mosaic from Baths of Caracalla. 

Room 2. — *Fragments from Forum of Trajan. 

Room O. — *^Esculapius ; *Autinous, from Palestrina. 

Room ^. — *Medea ; Germanic us ; *Mars ; Satyr of Praxiteles ; *Ti- 
berius. 

Cross the passage. 

ROOM 5. — Priapus ; *Urn with cock-fight ; Sacrifice of Mithras ; 
Stag ; Cow ; Female figure on a lynx, probably the original of Danne- 
ker's Ariadne. 

Room O. — Altar with Pan and 2 dancing women ; Colossal head ; Ti- 
berius ; Claudius ; Drusus ? ; Caligula, hi centre, two sleeping figures. 

Room 7. — *Dancing Satyr ; Marsyas ; Head of barbarian ; **Sopho- 



THE LOUVRE. 445 

eles, found, 1838, at Terracina, the gem of the collection ; similar to the 
^•EBchines of the Naples Mus. ( Compare casts in Room 14. ) 

Room 8. — 1. *Poet with masks ; Sarcophagus with hunt ; Meleager, 
slain by Apollo ; *Poseidon. 

Room 9. — Sarcophagus with masked Cupids ; * Altar with dances. 

Room 10. — Reliefs; Tomb, dead woman, mourners; Reliefs, Coli- 
seum. In centre : Cupid on a dolphin. 

Cross a passage. 

Room 11.— Sleeping Nymph; Bacchanalian sarcophagus; Bearded 
Bacchus ; Sarcophagus with Seasons ; Diana of Ephesus ; Sarcopha- 
gus with Adonis. In centre : Sarcophagus with Bacchanalian proces- 



Room 19. — *Sarcoph. with Orestes ; Sarcoph. with Cupids ; Head 
of Augustus ; *Boy with grapes ; Satyr ; *Sarcoph. with children of 
Niobe, found 1839. 

Room 13.— Relief of a Titan fighting; *C. C. Saturninus; Oval 
sarcoph. with funeral banquet ; *Candelabrum with Neptune, Pluto, 
and Persephone. 

Room 11. — Captive, unfinished ; Porphyry stat., unfinished; Casts 
of Sophocles and ^Eschines. 

Room 15. — In the cabinets: Glass, ivory, terra-cottas, from recent 
excavations at Ostia ; *Head of Nymph. 

Room 16. — Centre: *Recumbent Atthis, found at Ostia, 1869; 
traces of gilding on the hair. 

The floor above contains several rooms of unimportant pictures, and 
a **Mosaic of 28 pugilists, found, 1824, in the Baths of Caracalla. 



The IiOirvre (loo-vr). 

The Palace. — About the year 1200, Philip Augustus erected at this 
place a fortress with a tower, the site of which is marked by a white 
line in the pavement in the s. w. comer of the Court of the Louvre (1.). 

The eastern portion of the present building, called the old Louvre, 
was commenced by Francis I., 1541, and was first occupied by Cath- 
erine de Mcdicis and her son, Chas. IX. In 1572, the marriage of Henry 



446 



THE LOUVRE. 



IV. was here solemnized. Five days later Chas. IX. here gave the 
signal for the massacre of the Huguenots (St. Bartholomew's). 

Various additions and extensions were made to the palace by succes- 
sive sovereigns until its completion by Louis Napoleon. 

In 1871 the Palace of the Tuileries, and some portions of the Louvre, 
were destroyed by the Communists. The Louvre has since been fully 
restored, but it is asserted that it is the purpose of the government not 
to rebuild the Tuileries, but to remove the ruins and thus connect the 
grounds of the Louvre with the series of parks extending to the Champs 
Elyse'es. The buildings of the Louvre and the Tuileries are said to 
have covered 24 acres. 



»l 



Place 



du 



Carrousel 









1 




1 

Cour ' 


1 


du 




Louvre 








1 



1, 1. The Old Louvre. 



2, 2. The New Louvre. 



3. Ruins of the Tuileries. 



Gallery of the Lonvre. 

The Sculptures are on the Ground Floor of the Old Louvre. 

The Paintings are on the First and Second Floors. 

All the collections of the Gallery are usually open every day except 
Monday. 

Ancient Sculptures. — Rooms 4-18. Open, 9-5. Winter and Sun- 
days, 10-4. 

33?° The ancient sculptures are now being renumbered, many of 
them being at the present time without labels or numbers. 

Modern Sculptures. — Rooms 20-25. Open, 11-4, 5. 

Egyptian and Assyrian Rooms, 27-30. Open, 11-4, 5. 

Renaissance Rooms, 32-36. Open, 11-4, 5. 

Jewish Room, 37 : Christian Room, 38. Open, 11-4, 5. 



THE LOUVRE. 

GROUND FLOOR. 



447 



28 




29 

1 


27 


Cc 



30 



31 



J L 



Cour du 






34 

35 

36 



26 


L 


25 

, 




1 ! 1 i 

24 23 22 21 20 

MM 



19 



Lvre. 




16 15 






— - 


14 






—17— 




1 

18 

1 


12 


13 



Entrance is made at Nos. 1 and 19. 
1. Entrance beneath Pavilion Sully : 
door is not usually opened until 11 
o'clock. 
19. Entrance under the arch at Pavilion 
Denon : door is opened at 9 (or at 
the hour for the opening of th« 
gallery). 



11 



L 



3 
T3 



53 



I I I I I — 

A 5 6 7 8 9 



10 



1. Principal Entrance to the Galleries of Sculpture and Paint- 
ing. 

3. Gallery Daru. — On either side are bronze statues, principally 
copies of the antiques, dating from the 16th and 17th centuries. 

3. Principal Staircase leading to the Picture Gallery. 



448 THE LOUVRE. 

4. Salle de la Rotonde.— Centre: 144. Mars; 76. Apollo. 

5. Salle de Mecene. — [This and the four following salles are known 
as the Suite of Anne of Austria, from having been occupied by her.] 

Bas-reliefs : Sacrifice, Achilles leaving Deidamia ; Priam begging for 
the Body of Hector ; Bust of Maecenas. 

6. Salle de Mithras. — Beliefs: Fall of Phaeton ; Mithras. 

7. Salle de la Paix. — Centre: Statue of Roma ; sides: eight col- 
umns of Charlemagne, from the Cath. of Aix-la-Chapelle. 

8. Salle de Sep. Severe. — Rom. Emps. and Empresses, with 
names attached. 

©. Salle des Antonins. — M. Aurelius; Trajan; Hadrian; Anto- 
ninus ; Lucius Verus. 

10. Salle d'Auguste. — Centre: *Antinous; *Rom. Orator; at 
the end : * Augustus ; Julius Caesar ; Livia ; Vespasian ; Claudius ; 
Galba; Nero; Otho. 

11. Salle de Phidias, or de l'Autel, containing works of the 
time of Phidias. — Centre : Altar of the Twelve Gods ; *Bas-reliefs from 
the Frieze of the Parthenon ; *Metope from the same. 

ISi-l 1 ?. — Suite of Jeanne de Bourbon, occupied by Chas. V. and 
his consort. 

Nile ; four Caryatides ; Diana a la Biche ; Centaur ; *Silenus and 
Bacchus ; c. *Diana de Gabii ; *Borghese Gladiator ; Venus Genetrix ; 
** Apollo Sauroktonos ; *Polyhymnia ; *Minerva (Pallas) ; Venus ; 
Alex, the Great. 

15. Salle de la Melpomene. — *Melpomene, colossal; Mosaic. 

**16. Salle de la Venus de Milo. — Seep. 394. 

17. Salle, comprising the Salle de la Psyche, du Sarcophage, 
d'Hercule, de la Me dee, and de Pan. 

Venus ; Faun ; Sarcophagus ; Altars ; Hercules ; Venus ; Juno ; Her- 
cules and Telephus ; Hermaphrodite ; Three Graces ; c. Minerva. 

18. Salle des Cariatides, so named from the caryatides on either 
side of the door at the farther end, the work of Jean Goujon, who was 
shot on the night of St. Bartholomew's Massacre, while at work here. 

In this salon Cath. de Medicis, Henry IH., Chas. IX., and Henry IV. 
held court. Here, also, Henry IV. celebrated his nuptials, and here his 
body lay in state after his assassination. 

Hermaphrodite ; Socrates ; Diogenes ; *Demosthenes ; ^Victory of 
Samothracia ; Jupiter ; Greek Philosopher ; Demosthenes ; *Venus 
crouching ; *Borghese Vase ; * Jupiter ; Mercury ; Boy with Goose ; 
Bacchus ; Pluto ; Vase ; Bacchus ; Crouching Venus ; Discobolus ; 
Bacchus ; Vase ; Alex, the Gt. ; Crouching Venus ; end, four Caryat- 
ides of Goujon. 

19. Entrance, beneath Pavilion Sully ; stairs to the Galleries of 
Sculpture and Painting. 



THE LOUVRE. 449 

Modern Sculptures.— Rooms 20 to 25. Daily, ex. M., 11-4. 
Works of living artists not admitted. 

Ruxtiel: *Zephyr and Psyche. Canova: *Cupid and Psyche; 
*Cupid and Psyche with Butterfly. 

37, 38, SO. Musee Assyrian.— Collection made by M. Botta at 
Nineveh. The winged bulls are among the largest and most ancient of 
known sculptures. Also antiquities from Asia Minor. 

30. The Egyptian Museum. — One of the most valuable Egyptian 
collections in Europe. Comprises sphinxes, sarcophagi, statues, and re- 
liefs from the 16th cent. B.C. downward. 

Beyond this saloon is another, on the left in the stairway hall, called 
the Salle oVApis, containing a figure of the Sacred Bull, Apis. 

31. Hall and Stairway. — Ascending the stairs, on the left, are 
five rooms of smaller Egyptian antiquities, with labels attached. 

33. Salle des Platres.— Chas. V. ; Maximilian of Austria ; Mary 
of Burgundy ; Ch. the Bold ; Cast of Chimney from Bruges. 

33. Salle des Anguier. — Centre: Mon. to Henry of Longueville ; 
Four Slaves from the group of Henry IV. on Pont Neuf ; Mercury, by 
J. da Bologna ; Louis XIII. and Anne. 

3-4. Salle de Goujon. — Diana; Three Graces; Four Cardinal 
Virtues (wood) ; Busts of Ch. IX. and Henry III 

35. Salle de Douai. — M. Angelo's Two Slaves (unfinished), in- 
tended for the tomb of Pope Julius II. ; Nymph of Fontainebleau, 
high relief, Cellini ; Mercury and Psyche, Vries. 

36. Salle de Colombe. — *Philippe de Comines and Wife kneeling 
on a sarcophagus ; two stone figures reclining. 

37. Salle Judaique. — Sarcophagus and fragments from the 
Tombs of the Kings, near Jerusalem. 

38. Musee Chretien. — Sarcophagi and reliefs, principally from 
Rome and the south of France. 

Picture Gallery. 
First Floor. — Paintings and Smaller Antiquities. 
All the collections on this floor are usually open to the public daily, 
ex. M. ; April 1 to Sept. 30, 9-5 ; Oct. 1 to April 1, 10-4; Sun., 10-4. 



Paintings, Rooms 1 to 14. 
Bronzes, Room 15. 
Drawings and Designs, 16. 
Mediaeval and Renaissance, 
Room 17. 



Lenoir Collection, Rooms 33 

to 35. 
Egyptian Antiquities, 36. 
Greek Antiquities, Room 37. 
Musee Campana, Room 38. 



The. principal entrance is from the middle of the w. side, at Pavilion 
Denon (beneath 0). Entrance may also be made on the e. side at Pa- 
vilion Sully (at 15) ; also from rooms No. 28 and 31, ground floor. 

Entering at Pavilion Denon, we pass to the 1. through Galerie Daru 



29 



450 



THE LOUVRE. 



(beneath 5), which has on either hand numerous bronzes, chiefly copio^ 
of antiques, dating from the 16th to the 18th century. 

Ascending the principal staircase, to the right is 

Room 1. Salle des Fresques, with frescos transferred to canvas. 
236. Nativity; *238. Adoration; 237. Christ blessing, all by Luini. 

**2. Salon Carre, containing the gems of the collection. Ceiling 
in white and gold ; on the frieze, names of celebrated artists. 

Emp. Charles V. at the corner of 



Raphael : **Madonna of the Cra- 
dle. See p. 221. St. Michael, 
small ; St. George and the Drag- 
on, small; *Great Holy Family 
of Francis I. See p. 221. **La 
Belle Jardiniere. See p. 220. 
Raphael painted three, one of the 
replicas being now at Vienna. 
*St. Michael and the Dragon, 
painted, 1518, for Francis I. 

Rembrandt : ^Portrait. 

Terburg : ^"Soldier and Maiden. 

Metzxi : Officer addressing a Lady. 

Dow : **rhe Dropsical Woman. 
His masterpiece, of unusual size 
for Dow, but still retains his 
marvellous finish. 

Murillo : **Immaeulate Concep- 
tion. Purchased, 1852, for #120,- 
000. *Holy Family. 

Titian: ** l La Maitresse du Ti- 
tien ; " **Entombment. 

Bordone : Portrait. 

Ghirlandaio : *The Visitation. 

Da Vinci : **Mona Lisa, wife of 
Francis del Glocondo of Florence. 
Seep. 250. 
**Holy Family. Seep. 399. 

F. Bol : ^Portrait. 

P. Veronese : *House of Simon ; 
**Marriage at Cana (1563). Por- 
trait of Francis I. and his queen, 
Eleanor, court jester behind her 
— Mary of Eng. in yellow robe — 



the table with the golden fleece, 
Sultan Soliman near the negro 
prince. The musicians have the 
portraits of the painters : Titian 
with the bass-viol ; Bassano with 
flute ; P.Veronese, in white, with 
viol ; Tintoretto behind him with 
viol. 

*Jupiter Hurling Thunderbolts, 
formerly in the Doges' Palace. 

An. Carracci : Madonna ; Pieta. 

N. Poussin : **Diogenes casting 
away his Cup ; Himself (at 56). 

Solario : *Madonna with the green 
cushion. 

Champ aigne: Dead Christ. 

Memling: *Mary Magdalen; *John 
Baptist. 

Holbein, Yr. : *Erasmus. 

Del Sarto : *Holy Family ; Anne 
of Cleves, painted for Henry 
Vm. of England. 

Correggio : **Betrothal of St. 
Catherine ; **Antiope and Jupi- 
ter disguised as a Satyr, for- 
merly owned by Charles I. of 
England. 

Giorgione : *Rustic Feast. 

Van Dyck : *Ch. I. of England. 

Perugino : *Holy Family, and Sts. 
Rose and Catherine. 

Herrera : *St. Basil preaching. 

A. van Ostade: *The Schoolmaster. 



3. Grand Gallery, containing about 1,900 pictures, in five sec- 
tions, separated by arches. 



THE LOUVRE. 



451 



A. First Section, Italian Schools. B. Second Section, Italian and 
Spanish Schools. C Third Section, German and Flemish Schools. 
I>. Fourth Section, German and Flemish Schools. E. Fifth Section, 
German and Flemish Schools. 

Entering from Salon Carre. 
Titian (?) : *Holy Family. 



A. First Section. 
Bonifazio : *Holy Family. 
Albertinelli : ^Madonna. 
Raphael : *Portraits. 
Romano : ^Triumph of Titus. 
Titian : *L'homme au gant. 
Solario : *Head of J. Baptist. 
Titian : **Jupiter and Antiope. 
Romano : Venus and Vulcan. 
Lor. Lotto : *St. Jerome. 
Fra Bartolommeo : Virgin. 
Del Sarto : Charity. 
Lotto : *Holy Family. 
Tintoretto : ^Himself. 
Titian : *Disciples at Emmaus. 
Talma, Vec. : * Adoration. 
Da Vinci : *Holy Family. 
Tintoretto : *Paradise. 
Veronese : *Disciples at Emmaus 

B. 

An. Carracci : *Madonna. 
Guido : *Peter receiving the 

Keys. 
Lauri : *St. Francis. 
Guido: *St. Sebastian; *Mary 

Magdalen. 
Guido: ^Hercules ; *Holy Family; 

*Christ ; ^Magdalen ; *Annun- 

ciation. 
L. Carracci : *Madonna. 
Canalelto ; *Venice. 
Guercino : *Circe. 
Pannini : *St. Peter's, Rome. 
S. Rosa : *Battle. 
Murillo : *The Angel's Kitchen. 

C. Third 

Matsys : *Christ blessing. 
Holbein : ^Portrait ; ^Portrait ; 
*Nic. Kratzer, the finest picture 



Titian : **Crowned with Thorns. 

Veronese : *St. Mark and the Virt- 
ues. 

Raphael : *Count Castiglione. 

Raphael : *St. Margaret. 

Bartolommeo : * Annunciation. 

D. Dossi : *St. Jerome. 

Raphael : *Himself. 

Luini : *Holy Family. 

Titian : *Madonna del Coniglio. 

Titian : *Francis I. 

Da Vinci : ^Portrait. 

Bonifazio : ^Raising of Lazarus. 

Veronese : *Esther before Ahasu- 
erus. 

Titian 



**Holy Family; 
*St. Jerome. 



Alle- 
gory; " 

Second Section. 

Domenichino ; *St. Cecilia. 

Rib era : * Adoration. 

Angeli : *The Player. 

Zurbaran : *Monks. 

Domenichino : Punishment of 
Adam and Eve. 

L. Carracci : St. Hyacinth. 
Velasquez : *Philip IV. of Spain ; 
^Daughter of Philip IV. ; Por- 
traits. 

Goya : F. Guillemardet. 
Velasquez : *Portrait. 

Murillo : **Birth of Virgin ; *Beg' 
gar Boy; ^Immaculate Concep- 
tion. 

Section. 

by Holbein in the gallery ,• *Abp. 

Warham. 
Cuyp ^Marine View. 



452 



THE LOUVRE. 



Van Dyck : *Duke of itichmond. 
Ooyen : *River Scene. 
Teniers, Fid. : *The Chase. 

[Rubens' Series of Marie de Me- 
dicis.] See below. 
Rembrandt : *Himself. 
Rubens: *Rubens. 
J. Ruisdael : *Landscape. 
Rubens : *Triumph of Truth ; 

*Flight of Lot ; Portrait. 
Rembrandt : *Himself. 
A. van Ostade : *His Family. 
Van Dyck : ^Children of Chas. I. 
G. Bow : *Dentist. 
Le Ducq : Genre. 
De Hooghe ; *Dutch Interior. 
I. van Ostade : *Landscape and 

Figures. 
A. van de Velde : *Scheveningen. 
Van der Heist : *Shooting-match. 



G. Dow : Village Grocer. 

Rembrandt : Portrait. 

A. van Ostade : *A Tippler. 

Flinch : Portrait. 

Rembrandt : *Emmaus. 

I. van Ostade : ^Travellers. 

Rembrandt: Tobias and the Angel. 

Hobbema : *Landscape. 

Teniers, Tr. : *Genre ; *St. Peter. 

Du Jardin : A Grove. 

Brouioer : *Genre. 

Rubens : Tournament. 

Du Jardin : *Field. 

Van Dyck : Himself. 

A. van der Neer : *Dutch Village. 

Terburg : The Concert. 

De Heem : Fruits, etc. 

Ferd. Bol : Portrait. 

A. van de Velde : *Landscape. 

De Hooghe : *Genre. 



The Rubens Series of Marie de Medicis comprises 23 large pictures 
illustrative of her life and reign. Painted, 1621-25, by order of Marie 
de Medicis, for the decoration of the Luxembourg Palace, after her 
reconciliation with Louis XIH. , her son. 

" They do not rank among Kubens' finest works." — Murray. 

The series commences with No. 456, on the left wall, and continues 
along the left wall to No. 445 ; thence it crosses to the opposite wall and 
returns along the right wall toward the beginning, terminating with the 
portrait of her father, No. 455, on the right wall, opposite the mother — 
the first picture of the series. 

456. Johanna of Austria, Grand Duchess of Tuscany, the mother of 
Marie. 

434. The Fates spin the thread of her life. 

435. Birth of Marie : Lucinia, the goddess of births, with the torch ; 
Florentina holds the infant ; Arno, the river-god. 

436. Her education by Minerva, Apollo, and the Graces. 

437. Her portrait shown to Henry IV. by Amour ; Jupiter, Juno, the 
King, and France present. 

438. Her marriage (by proxy) in the Cathedra of Florence ; the Gd. 
Duke Ferdinand acting in place of Henry IV. (1600). 

439. She lands at Marseilles ; Neptune, tritons, and naiads. 

440. The marriage at Lyons. The city of Lyons seated in a cai 
drawn by two lions. Henry and Marie represented as Jupiter and Juno. 



THE LOUVRE. 



453 



441. Birth of Louis XIII. at Fontainebleau ; Justice confidet the 
infant to the genius of Health ; Fortune and Abundance attending. 

442. Henry 1 V. departing for war confides the government to Marie 

443. Coronation of Marie at St. Denis (1610). Her son and daughu 
ter at the r. and 1. ; the King in the background. 

444. Apotheosis of Henry IV. Borne by Time, he is received in Olym- 
pus by Jupiter. The Queen, enthroned, is draped in mourning, and at- 
tended by Minerva and Prudence. France presents her the government. 

445. The Government of the Queen. Mars, Apollo, and Minerva, 
under the guidance of Jupiter and Juno, vanquish Discord, Envy, and 
Violence. [Crossing to the r. wall and returning.] 

446. Civil War. The Queen, mounted upon her horse, receives the 
submission of her enemies. 

447. France (r.) and Spain (1.) conclude an alliance. 

448. Felicity of her reign. The Queen holds the sceptre and balance ; 
Abundance and Prosperity award medals ; at her side are Minerva and 
Amour ; beneath her feet, Ignorance, Evil, and Envy. 

449. The Ship of State committed to Louis XIH. on his majority ; 
Strength, Religion, Fidelity, and Justice attending. 

450. Flight of the Queen from Blois, having escaped through a window. 

451. Reconciliation having been effected between Marie and her son, 
Louis XIII. , Mercury comes as the bearer of peace. 

452. Marie conducted to the Temple of Peace by Mercury and Inno- 
cence, notwithstanding the efforts of Fraud, Fury, and Envy. 

453. Marie and Louis XIII. in Olympus, symbolic of the sincerity 
of their reconciliation ; below is Rebellion vanquished. 

454. Truth is borne by Time into the presence of the Queen and her 
son, in the heavens ; Louis gives a chaplet of peace to his mother. 

457. Portrait of Marie. 

455. Francis, Gd. Duke of Tuscany, father of Marie (farther on, op« 
posite the beginning of the series). 

I>. Fourth Section. 



Metsu : Market, Amsterdam. 
Potter: *Prairie. 
Frans Hals : ^Portrait. 
Tenders, Yr. : *Fete. 
Hobbema : *The Mill. 
Terburg : *Music Lesson. 
J. Huisdael : *Forest. 
Rembrandt : Himself. 
Van Dyck : Portraits. 
A. van Ostade : *Fish Market. 
A. Ctcyp : *Horsemen. 



Be Heem : Fruit, etc. 
Cuyp : **Landscape. 
J. Both : *Landscape. 
A. van Ostade: *Cbttage. 
Van Dyck : *Horseman. 
A. van de Velde : *Frozen Canal. 
Rubens : *Helen Fourment. 
Ooyen : *Canal, Holland. 
Berchem : *Landscape and Ani,, 

mals. 
Van Dyck : ^Isabella of Spain. 



454 



THE LOUVRE. 



E. Fifth 

Van Dyck : *Madonna. 
Rubens : * Annual Fair. 
Rembrandt : ^Meditation. 
Rubens : *Landscape. 
Wynants : "^Landscape. 
Netscher : *Music Lesson. 
Rembrandt : ^Philosophers. 

Rooms 4L to 7 
Room 4 A. Early Paintings. 
Room 4L B. 22 pictures by & le 

Sueur. 
Room 4L C Mythological and 

Miscellaneous, by K le Sueur. 
Room <t I>. Fifteen Seaports of 

France, Jos. Vernet. 

Room 5. 

Oericault : *Lime-kiln. 

Greuze: **Young Girl. 

Vien: * Archbishops. 

Chardin : *Grace. 

David : *Mme. Re'camier. 

Greuze: *Himself. 

David : *Oath of the Horatii. 



Section. 

Van Goyen : *River Scene. 

Van Steen : Fete. 

J. Ruisdael : *A Tempest. 

Van Dyck : *Charles Louis. 

Rembrandt : *The Samaritan. 

Goyen : *River in Holland. 

Berchem : "^Landscape. 

French School. 

Greuze : **The Broken Pitches 

Tocque : *Marie Leczinska. 

Mine, le Brun : **Herself and 
Daughter. 

Roslin : *Decorating the Statue of 
Love. 

Greuze : **The Village Bride. 

Lagrenee : *Melancholy. 

Robert : *Return from the Pil- 
grimage. 

Robert : *Landscape ; *Harvest in 
the Campagna. 

Chardin : *The Housekeeper. 

Boucher : Vulcan and Venus. 

Desportes : Still-life. 

Lancret : ^Harvest. 



Room 6. Salon Denon — A lofty gallery containing four large paint- 
ings by le Brun, which, from the peculiar light of the room, can be but 
imperfectly seen. 

Room 7. French Works of the 17th century. 

Claude : *A Seaport ; *Roman Forum ; **Seaport ; *Seaports. 

JV. Poussin : *Shepherds ; * Judgment of Solomon ; *Deluge. 

Le Sueur : *Christ bearing the Cross. 

Room 8. Galerie des Sept Metres — Farly Italian. 



Cimabue : **Madonna. 
Mantegna : *Parnassus. 
Gozzoli : *St. Thomas Aquinas. 
Z. di Credi : *Madonna. 
Montagna : * Angelic Musicians. 
Mantegna : *Wisdom conquers 

Vice; *Madonna; *Calvary. 
Fra Angelico : **Coronation. 



Beltraffio : *" Casio Madonna." 
Borgognone : *Presentation. 
Fra Lippi : *Madonna. 
Francia : *Crucifixion. 
Cima: Madonna. 
Dono : Battle. 
Giotto: **St. Francis. 



THE LOUVRE. 455 

10. Salle Ronpe, a vestibule connecting the galleries of the Old 
Louvre with those of the New. The iron door to the r., time of Henry 
II. , leads to 

9. Galerie d'Apollon, of the time of Henry IV., regarded as one 
of the finest halls existing. Named from the ceiling painting, Apollo's 
Conquest of Python, by Delacroix. 

In the cases are various articles wrought of crystals and precious 
stones; also casket of Queen Anne of Austria; crown, sword, and 
sceptre of Charlemagne ; signet ring of Louis IX. ; shield and helmet 
of Charles IX. ; breviary of Catherine de Me'dicis ; mirror of Marie de 
Medicis, etc. 

11. Salle des Bijoux, containing antiquities of gold, silver, and 
precious stones. 

**13. Salle des Sept Cheminees — French School. 
"It was here Henry IV. died." — Galignani. 

Entering from Salle des Bijoux, or from the La Caze Collection ; to 
the right around the room : 

Portrait of M. Isabey, the painter, and bis daughter, Gerard. 

Jean Paisiello, the composer, Mme. Ic Brun. 

Pyrrhus and Andromache. Pyrrhus seated extends his sceptre over 
Andromache kneeling. To the left, Heimione, jealous of her rival, 
Guerin. (Purchased, 182:3, for #2,000.) 

The Assumption of the Virgin, surrounded by angels, Prud'hon. 
(Purchased, 1842, for #2,400.) 

**Burial of Atala by Chactas and the monk Aubry, Girodet. 

^Bonaparte in the Plague Hospital at Jaffa. Generals Berthier and 
Bessieres ; Daure and Desgenette, Gros. (Purchased, 1804, for #3,500. ) 

Psyche receives the First Kiss of Love, Gerard. 

Phaedra Accusing Hippolytus before Theseus, Guerin. 

Mme. Raymond, comedienne, Mme. le Brun. 

David, the painter, in his youth, David. 

•"Mme. le Brun and Daughter, Mine, le Brun. (This painting and the 
portrait of Mr. Robert were sold, 1787, for $3,500.) 

Wounded Cuirassier, Gericault. 

Neoptolemus and Ulysses removing from Philoctetes the Arrows of 
Hercules, Fabre. (Purchased, 1826, for #1,000.) 

**Wreck of the Medusa, Gericault. The frigate Medusa having been 
wrecked, a raft was constructed upon which 149 persons floated in mid- 
ocean for twelve days. On the twelfth day a ship appears in the hori- 
zon. 

Education of Achilles by the Centaur Chiron, Regnault. 

Pope Pius VII. , David. Epsom Races, Gericault. 

M. Bochet, Ingres. *Cavalry Charge, Gericault. 



456 MADRID, THE PRADO. 

*Marius in Prison ; Marius, seated, discovers a soldier approaching to 
assassinate him, Drouais. 

**Return of the Roman Exile, Marcns Sextns. He is seated beside 
the dead body of his wife, bus daughter clasping his knees, Guerin. 

A Soldier, Gericault. 

*Clytemnestra ; Agamemnon Asleep ; Clytemnestra, with a dagger, 
hesitates, while iEgisthus urges her forward, Guerin. 

Mme. Jarre, Prud'hon. Baron Denon, Prud'hon. 

Mme. Pecoul, David. 

* Justice and Vengeance Pursuing Crime, Prud'hon. 

Gros : **Napoleon on the Battle-field of Eylau. At the right, Soult, 
Davoust, and Murat ; on the left, Berthier, Bessieres, and Caulaincourt. 
($3,200.) 

Girodet : **Endymion. Amour raises the foliage to admit the moon- 
light ; *The Deluge. 

David : The Sabines. At the right, Romulus, who throws his jave- 
lin at Tatius ; Hersilia, the wife of Romulus, rushes between the com- 
batants. Theatric and Statuesque. Leonidas at Thermopjdse. 

13. Salle Henri II. , with pictures by Prud'hon, van Loo, Coypel. 

14. Collection la. Caze. 

Jan Steen : Repast. I Wattean : *Figures. 

A. van Ostade : A Reader. I Denner : Old Woman. 
Ribera : Bandy-legged Man. Frans Hals : *Portrait. 

Rembrandt : ^Portrait ; * After i Bronwer : The Smoker. 

the Bath. Larqilliere : *Himself and Wife. 

Watteau : *Rustic Group. Le Nain : *Peasants. 

Hondecoetcr : *White Turkey. Teniers, Yr. : *The Smoker. 

A. van Ostade : The News. ! L van Ostade : ^Winter Scene. 

Hals : *Head of a Girl. I 

15. Saloon of Ancient Bronzes. — Statuettes, busts, vases, 
lamps, bracelets, caskets, implements. 

Room 1©. Collection of Drawings, in 14 sections, and number- 
ing nearly 36,000 drawings and sketches. 

Room l 1 ?. — Smaller Mediaeval and Renaissance Antiquities. 

Rooms 18 and 19. — Early Flemish Tapestries. 

Rooms SO and 21. — Vacant. 

Collection Lenoir. — Rooms 23 to 25. 

Room 22. — Statue of Henry IV. when a lad — silver; several cases 
of toilet articles, caskets, etc. , of Marie Antoinette. 

Room 23. — Portrait of Henry II. ; silver statue of Abundance, pre- 
sented to Paris by Nap. I. ; stained glass, 16th and 17th cents. 

Room 21. — " With alcoves in which Henry IV. breathed his last," 
Baedeker. Portraits of Henry IV. and Marie de Medicis, his queen. 

Room 25. Vestibule. — Portraits of Louis XIIL and his queen ; four 
large vases of Sevres porcelain. 

Room 2©. — Egyptian Room, in five sections. 

Room 2V m — Greek Antiquities, in four sections. 

Room 28. — Muse'e Campana, in nine sections. 

Madrid, The Frado. 

The Prado, or the Royal Museum, at Madrid, is regarded as the 
richest collection of pictures now existing. It numbers between two 
and three thousand, and includes an extraordinary number of works by 



NATIONAL GALLERY. 



457 



the great masters. It has no less than 62 by Velasquez, 64 by Rubens, 
60 by Teniers, 58 by Ribera, 46 by Murillo, 43 by Titian, 35 by the 
Bassanos, 34 by Tintoretto, 25 by Veronese, 14 by Zurbaran, and 10 by 
Raphael, and numbers by van Dyck, Claude, Pyt, Goya, Guido, del 
Sarto, and other masters. 

For such a vast collection the visitor must needs have a detailed 
catalogue and ample time. 

National Gallery, London. 

Open M., Tu., W., and Sat., 10-6 ; Nov. to Apr. 10-4 or 5, free ; Th. 
and Fri. 11-4 or 5, sixpence. About 1,200 pictures. 



T 



xxir 



[XI bL, 

A 




r~i r~i — i r 

I II * I "III* IV 

rer- Ixy 




t fxiv'-xm 

• • • • ■* *■ 



■ • •••••• 

ENTRANCE HALL 



North Vestibule — Earliest Italian 
Schools. 

I — Tuscan Schools. 
II. — Sienese School, etc. 
ILL — Tuscan Schools. 
IV. — Early Tuscan Schools. 
V. — Ferrarese and Bolognese 
Schools. 
VI. — Umbrian Schools, etc. 
VII. — Venetian and Breeician Schools. 
VIII.— Early Venetian School. 
IX. — Lombard Schools. 

X. — Dutch and Flemish Schools. 
XL— Peel Collection. 



XII. — Early Flemish Schools, etc. 
XIII. — Late Italian Schools. 
XIV.— French School. 
XV. — Spanish School. 
XVI.— Old British School. 
XV1L— Old British School. 
XVIII.— British School. 
XIX.— Turner Gallery. 
XX. — Modern British School. 
XXL— Modern British School. 
XXIL— Turner Gallery. 
Octagonal Hall — Miscellaneous. 
East Vestibule — Old British School. 
West Vestibule— Old British School. 



Room 1. 

Veneziano : Madonna and Child. 
M. Angelo : ^Entombment. 
Pollaiuolo : Virgin and Child. 
Fil. Lippi : * Adoration of Magi ; 
Virgin, Child, and Sts. 



Bel Sarto : *Holy Family. 

Da Vinci : ^Virgin, Child, and St. 

John. 
M. Angelo : *Madonna, Child, and 

St. John. 
Del Sarto : Himself. 
Carucci : Joseph and Kindred. 



458 



NATIONAL GALLERY. 



Room 2. 

Fra Angel ico : *Christand Angels. 
Duccio : Madonna and Child. 

Room 3. 

JJccello : Battle of Sant' Egidio, 

1416. 
Fil. Lippi : Adoration of Magi. 
Botticelli : Nativity. 
Fra Lippi : St. John and Saints. 

Room 41. 

Orcagna : Nativity ; Adoration of 
the Kings ; Resurrection ; Coro- 
nation of Virgin. 

Cimabue : *Madonna and Child. 

&2)inello: St. John Baptist and Sts. 

Room 5. 

Garofalo : Vision of St. Augus- 
tine ; Holy Family ; Madonna 
and Child. 

Francia : **Pieta ; Madonna and 
Sts. 

Costa : Madonna and Child. 

Room 6. 

Pinturicchio : *Marriage of Gri- 
selda ; Divorce of Griselda ; Re- 
instatement of Griselda. 

San Severino : Marriage of St. 
Cath. 

Copy of Raphael : *Madonna. 

Perugina : *Virgin and Child and 
Sts. 

Lo Spagna : Christ in the Garden. 

Raphael: * Vision of a Knight; 
*" Madonna degli Ansidei;" 
*Madonna, Child, and St. John ; 
St. Catherine ; * Julius II. 

Lo Spagna (?) : Virgin in Glory. 



Room 7. 

Moretto : St. Bernardino of Siena. 
Libri: Madonna, Child, and St. 

Anne. 
Tintoretto : St. George and the 

Dragon. 
Titian : *Venus and Adonis ; Holy 

Family. 
Piornbo : **Resurrection of Laza- 
rus. 
Titian : *Madonnaand Sts.; *Bac- 

chus and Ariadne ; Portrait of 

Ariosto; * u Noli me tangere." 
Moroni : A Tailor. 
Gio. Bellini : Madonna and Child; 

Doge Leonardo Loredano ; *St. 

Peter Martyr. 
Cinia : Virgin and Child. 
Gio. Bellini : Christ in the Garden; 

*Death of St. Peter Martyr. 
Moretto : *Italian Nobleman. 
Veronese : **Family of Darius at 

the Feet of Alexander. 
Garofalo : Madonna and Child. 
Savoldo : *At the Sepulchre. 
Romanlno : The Nativity. 

Room 8. 

And. Mantegna : *V i r g i n and 

Child. 
Crivelli : Madonna and Child. 

Room 9. 

Luini : Christ and the Doctors. 

Correggio : *" Ecce Homo ; " Holy 
Family. 

Parmigiano: Vision of St. Jerome. 

Correggio : *Gethsemane ; Mer- 
cury, Cupid, and Venus. 

Solario : Venetian Senator ; Gio. 
Christophoro Longono. 

Beltraffio : Madonna and Child. 



NATIONAL GALLERY. 



459 



Room lO. 

Bakliuisen : Dutch Shipping. 
Marcellis : Study of Foliage and 

Birds. 
Cuyp : *Bvening Landscape. 
Allori: Portrait. 
Rembrandt : * Himself ; Portrait ; 

Jewish Rabbi ; The Adulteress. 
Van Dyck : Portrait. 
Rubens : * Judgment of Paris ; 

Chateau of Stein. 
Rembrandt : ^Adoration of the 

Shepherds. 
Maas : The Idle Servant. 
De Tlooghe : Courtyard of Dutch 

House. 
Hobbema : *Landscape. 
Van Dyck: The Draught of Fishes. 
Ruisdael : Landscape. 
Teniers, Yr. : Peasant Woman. 
Terburg : Peace of Minister. 
Rembrandt : *Portrait. 
Rubens : *Triumph of Caesar. 
De Keyser : Merchant and Clerk. 
Rembrandt : Portrait ; A Bather. 
Cuyp : Portrait. 

Room 11. 

Cuyp : Ruined Castle. 

I. van Ostade : *Skating Scene. 

Wouverman : *Halt of Officers. 

Cuyp : *Evening Landscape. 

A. van de Velde : *Cottage. 

1. van Ostade : Village Scene. 

Rembrandt : Portrait. 

Dow : Poulterers. 

Wouverman : *Stable Interior. 

W. van de Velde, Yr. : Ship- 
ping. 

Hobbema : *Water-mills. 

W. van de Velde, Yr. : Scheven- 
ingen ; Shipping in a Calm. 



Netscher : *Maternal Instruction. 

Metsu : *The Duet. 

De Hooghe: Court of Dutch House. 

Hobbema : *Forest Scene. 

Terburg: *Guitar Lesson. 

Metsu : Music Lesson. 

A. van de Velde : *Skating Scene. 

Jan Steen : Music Teacher. 

P. Potter : Landscape with Cat- 
tle. 

A. van de Velde : The Ford. 

De Hooghe : *Dutch Interior. 

De Koninck : Landscape. 

Netscher : "^Blowing Bubbles. 

Coques : Family Group. 

A. van Ostade : *The Alchemist. 

Hobbema : **Middelharnis, Hol- 
land. 

Room 12. 

Memling : * Virgin and Child. 

J. van Eyck : *Portrait ; Flemish 
Merchant and Wife. 

R. van der Weyden, Eld. : De- 
position. 

Hobbema : ^Landscape. 

Cuyp : **Cattle and Figures. 

Metsu : Drowsy Landlady. 
Wouverman : A Battle. 

W. van de Velde : Dutch Ships of 
War Saluting. 

Ruisdael : Landscape. 

Mabuse : Portrait. 

Room 13. 

R. Mantovano : Capture of Car- 
thagena. 

Domenichino : Tobias and An- 
gel. 

S. Rosa : Landscape ; Landscape. 

Sassoferrato: *Madonnain Prayer. 

Guido Reni : Magdalen. 



460 



NATIONAL GALLERY. 



A. Carracci: Landscape. 

R. Mantovano •• Sabine Women. 

Room 14. 

Claude : *Classical Landscape. 
N. Poussin : Bacchanalian Dance. 
Claude : *Landscape. 
Oreuze : Head of a Girl ; Head ; 

Girl. 
Claude : Landscape — Isaac and 

Rebecca. 

Room 15. 

Velasquez : *Philip IV. ; Philip 

IV. Hunting; Philip IV. ; Dead 

Warrior. 
Murillo : **St. John and the 

Lamb; *Spanish Peasant Boy; 

Holy Family. 
Zurbaran : **Franciscan Monk. 

Rotunda. 
Italian School : A Cardinal. 

Room 16. Old British School. 

Reynolds : *Infant Samuel ; *The 
Age of Innocence ; *The Graces. 

Room 17. Old British School. 

Hogarth : Himself ; *Marriage " a 
la Mode." A series of six pict- 
ures of high life. 113. Marriage 
Contract ; 114. After Marriage ; 

115. Visit to the Quack Doctor ; 

116. The Countess's Dressing- 
Room ; 117. Duel and Death of 
the Earl ; 118. Death of the 
Countess. Painted 1744. 



Room 18. British School. 

Gainsborough : Musidora Bathing. 
Lawrence: Portrait of J. J. An- 
gerstein. 

Room 19. Early Turner. 

Room 20. Modern British 
School. 

Landseer : Highland Dogs; 
**Spaniels ; High Life and Low 
Life ; *Dignity and Impudence ; 
A Member of the Humane Soc. 

Herring : *The Frugal Meal. 

Stanfield : The Lake of Como. 

Lance : Fruit. 

Ward : The Downfall of Claren- 
don. 

C. Landseer : *Clarissa Harlowe in 
the Spunging-house. 

Webster: *The Truant; *The 
School. 

Leslie : Uncle Toby and Widow 
Wadman. 

Frith : Derby Day. 

Wilkie : The Blind Fiddler. 

Horsley : *The Pride of the Vil- 
lage. 

Wilkie : Village Festival. 

Fraser : Highland Cottage. 

Room 31. Modern British. 

Ward : South Sea Bubble ; *Dr. 
Jobnsou in the Anteroom of 
Lord Chesterfield. 

Landseer : ^Defeat of Comus ; 
*The Sleeping Bloodhound ; 
**Shoeing the Bay Mare ; Alex- 
ander and Diogenes; Maid and 
Magpie. 

Bonheur : **The Horse Fair. 

Maclise : *Scene in Hamlet. 



NATIONAL MUSEUM, NAPLES. 



461 



Linton : The Temples of Paestum. 
Callcott : Dutch Peasants. 
JEJastlake : Byron's Dream. 
Wilkie : *Knox Preaching before 

the Lords of the Congregation. 
Ward : * James II. receiving News 

of the Landing of the Prince of 

Orange. 
Lawrence: Mrs. Siddons. 



Room 22. Turner Gallery. 

Turner's pictures should be viewed 
at a distance. 
Turner: **516. Childe Harold's 

Pilgrimage ; 497. Crossing the 

Brook; *512. Caligula's Palace ; 

*520. Apollo and Daphne ; *536. 

Marine; *54S. Queen Mab's 

Grotto. 



National Museum, or Museo Nazionale, Naples. 

Open daily, 10-3, except holidays, 1 fr. ; Sun. free. New and excel- 
lent descriptive catalogue, 5 frs. Gratuities forbidden. 

Basement. — Christian Inscriptions and Egyptian Collection. 

Ground Floor. — Frescos, mosaics, reliefs, and 6tatues, principally 
from Herculaneum and Pompeii. 

Entresol. — Cumsean coll. , Mediaeval and Indian colL , glass and terra- 
cotta from Herculaneum and Pompeii. 

Upper Floor. — Gold, silver, cameos, coins, medals, vases, the Sant- 
angelo coll., and picture gallery. 

Room 5. The Vestibule.— Sixteen antique columns of green marble : 
r., Alexander Sever us ; four Roman Consuls ; Flora, head restored ; 1., 
Roma ; four Roman Consuls ; Urania, from Theatre of Pompey, Rome. 

Rooms <S to 12 contain a large collection of mosaics and frescos from 
Pompeii and Herculaneum. 

Room 6. Faun and Bacchante, from the house of Diomede, one of 
the largest paintings yet discovered. 

Room 8. Comp. 23. — *Small pictures : Concert; Toilette; Artist. 

Room lO. Comp. 45. — *Woman sellirig Cupids. 

Room 12. Comp. 11.— *Vase of Water. Comp. 14. *Parrot, Cart, 
and Grasshopper, said to be a caricature of Seneca and Nero. 

Room 14. **The Fame&e Hercules. Seep.\$A. 

Room 15. Stairs leading to the Christian Inscriptions and the 
Egyptian Collections, below. 

Room 1G. The two celebrated Heracles Tables ; found at Taranto, 
1732, containing edicts of Julius Caesar. 

Room 17. **Tke Farnese JBull, by Apollonius and Tauriscus ; re- 
stored under M. Angelo. Seep. 127. 

Room 18. Corridor of Frescos, from Herculaneum and Pompeii ; 
in a niche, r., a pillar from a fuller's shop, Pompeii, representing the 
various processes of fulling cloth ; found 1826. 

lO. Corridor of Masterpieces. — *Minerva ; Capuan Adonis; 
**Capuan Venus. See p. 391. **^Eschines. See p. 7. **Capuan 



462 



NATIONAL MUSEUM, NAPLES. 



GROUND FLOOR. 




PALACE OF THE CONSERVATORS. 463 

Psyche. See p. 325. Homer; Minerva; Juno; Antinous; Antoninus 
Pius ; ^Faustina, wife of Antoninus Pius ; *Caracalla. 

In the Centre. — **Celebrated torso of Bacchus ; *Agrippina, wife of 
Germanicus ; Nereid ; **Venus Callipyge, Praxiteles, from Nero's 
Golden House, Rome. See p. 391. *A Gaul ; Aristogeiton. 

20. Corridor of the Balbi. — Centre: **Two equestrian statues 
of M. Nonius Balbus, Sr. and Jr. , the finest equestrian statues yet dis- 
covered; found in the Basilica, Herculaneum. 

Room SI. Basins, columns, pillars, candelabra. 

Room 22. (Tiberius Room). — Centre: Pedestal erected by 14 towns 
of Asia, to Tiberius. On the r. , *Feast of Icarus ; *Comic Scenes ; 
** Apollo and the Graces ; Hercules and Omphale ; Temptation of Helen ; 
^Sarcophagus with Bacchanals. 

Room S3. Centre : Vase with the Education of Bacchus, found at 
Gaeta, where it was used for mooring boats ; Vintage vats ; urns. 

Room 24. Hall of the Flora.— Centre : **Farnese Flora, from the 
Baths of Caracalla ; **Farnese Gladiator. See p. 153. **The large 
mosaic of the Battle of Issus, from the House of the Faun, Pompeii, 16 
horses and 26 figures ; Alexander and Darius. 

Room 25. Hall of the Mioses. 

Room 26. Hall of Atlas. — * Atlas bearing the Globe. 

Room 27. Hall of the Venuses. — Statues, principally with portraits, 
of empresses of the later Roman Empire. 

Room 28. Hall of Divinities. 

Room 29. Hall of Animals. — Horse from Nero's chariot, from Her- 
culaneum ; *Colossal Head of Horse ; Dogs ; Lions. 

Room 30. ^Silenus ; **Narcissus ; **Dancing Faun. 

Room 31. *Drunken Faun ; * Apollo ; **Mercury ; **Sleeping 
Faun. 

33. Corridor of Emperors. 

The Entresol contains the Cumcean Collection in eight rooms : vases, 
glass, terra-cotta, etc. In the last room but one, the celebrated ** Vol- 
scian Reliefs, found at Velletri, representing combats, races, feasts, etc. 

The Upper Floor contains, on the right, as you reach the top of the 
stairs, a Picture Gallery ; a Hall of Precious Relics ; a Reserved Cabi- 
net (gentlemen only admitted) ; a Hall of Coins and Medals, 80,000 ; 
several rooms of Vases ; a *Model of Pompeii as far as exhumed ; and, 
on the left, several **Rooms of the Papyrus Rolls, and Articles of Food 
from Pompeii and Herculaneum. 

Palace of the Conservators ; Picture Gallery, Rome. 

Entrance through an archway from the Piazzo del Campidoglio. 
Daily, 10-3 ; ^ fr. ; Sundays, 10-1 ; free. 



464 



PALACE OF THE CONSERVATORS. 



The Court. — Under the portico : r., colossal stat. of J. Caesar, the 
only authentic one known. 1. , Augustus. In the court are colossal 
fragments, feet, hands, head of Domitian; cinerary urn of Agrippina. 
In the loggia opp. , Rome Triumphant ; Lion attacking a horse. 

Entrance to the Gallery is to the 1. Along the walls and on the stair- 
case, unimportant sculptures and bas-reliefs. At the head of the stairs, 
L, * Apotheosis of Faustina ; opposite, M. Aurelius. 

Door opp. the stairs leads to the Halls of the Conservatori, with fres- 
cos by d'Arpino, now occupied by the municipality. The formalities 
of marriage before the civil authorities may here be observed at almost 
any hour of the forenoon. 





10 



li 



12 



j 



Rooms 2, 3. — Ante-rooms, with lists of Modern Rom. Magistrates. 

4. Protomoteca. — A collection of busts of celebrated men, princi- 
pally Italians. 

5. Bronzes. — Centre : A litter, inlaid with silver ; seat ; chariot. 
Room 6. — Centre : Coins, many of the Roman imperial period. 

*Pavement found on the Esquiline. 

7, Dome Saloon, in Pompeian style. — To the r., 2. Tombstone of 
Q. S. Maximus, a boy of 11 j r ears, who died from exhaustion in gaining 
a prize over 52 competitors in extemporizing. 10. A Woman carrying 
a Lamb. *15. Claudius, pedestal of two Amazons. 17. Plofcina. 21. 
Sarcophagus, with reliefs of Calydonian Hunt. *26. Venus dressing 
her Hair ; arms wanting. 28. Polyhymnia. *36. Centaur. 38, 42. 
Athletes, who should confront each other, found at Velletri. 45. Ti- 
berius. 46. Maecenas, from Otricoli. 53. iEsculapius. "* Amazon, 
found Esquiline Hill. 35. Young Hercules, found, 1872, near S. Lo- 
renzo. 69. Fountain, goblet resting on a wreath ; found in the gardens 
of Maecenas. 



PINAKOTHEK, NEW. 



465 



Room 8. — *75. Fighting Hercules. 130. Silenus, crouching, found 
1874. On the wall : Copies of paintings from a columbarium near the 
temple of Minerva Medica. 125. Boy with Tortoise. 

Through a glass door entrance is made to the court, where may be 
seen ruins of the Capitoline Temple of Jupiter. 

Room 9. — Terra-cottas : Domestic utensils, mosaics, urns, etc. 

Room lO. — Bronzes. Centre : *Capitoline Wolf, the boys modern. 
It is thought this may be the original bronze, b. c. 296, which, accord- 
ing to Cicero, was struck by lightning, B.C. 65, traces of which are ob- 
served on the right hind leg. *Thorn Extractor. *Bronze, L. J. 
Brutus ? Horse, found 1849. Colossal hand and foot. Hercules, gilded. 

Room 11. — Etruscan Terra-cottas. 

Picture Gallery. — Ascending the stairs (12) we find two saloons 
and two small rooms, containing a collection of paintings, of which few 
are of special importance. 

Saloon 1. — To the 1., 2. Redeemed Spirit, Guido. 9. Magdalen, 
Albano. 13. John Bap., Guercino. 16. Magdalen, Guido. 30. H. 
Family, Garofalo. 34. Persian Sibyl, Guercino. 54. St. Catherine, 
Garofalo. *89. Romulus and Remus, Rubens. Young St. John. 

Small Room 2.— *61. Himself, Guido. *100, *106. Portraits, 
van Dyck. 80. Portrait, Velasquez. M. Angelo, by himself ? 

Small Room 3. — *132. Portrait, Gio. Bellini. 124. Baptism, Ti- 
tian. 49, 137. Landscape, Domenichino. 

Saloon J=. — 105. Portrait, Titian. 116. St. Sebastian, Guido. 117. 
Cleopatra, Guercino. *143. S. Petronella raised and shown to her 
Bridegroom, Guercino ; see Guercino. 41. Orpheus, N. Poussin. 
*224. Rape of Europa, P. Veronese ; see Euroya. 



Pinakothek, New, Munich. 

The New Roya.l Pinakothek, or Gallery op Modern Paint- 
ings, Munich, contains about 500 w©rks, in 11 saloons and 14 cabinets. 

Open Sun., Tu., Th. and Sat., 9-2 ; free. 

The numbers are arranged consecutively through the large saloons 1 
to 9 % thence back through the small rooms 1 to 5, and thence, on the 
right, through Cabinets 1 to 14. 



< 

<x> 
w 
<r»- 
i— »• 

C 

g, 

CO 


5 4 3 2 1 


6 


1 


2 


3 


4 


5 




14 Cabinets. 



466 



PINAKOTHEK, NEW. 



1. Ante-Room. 

Portrait of King Lewis I. 

Malachite Vase from Emp. Nicho- 
las. 

Porphyry Vases from King Ch. 
John of Sweden. 

2. Saloon. 

Feuerbach : *Medea Forsaken. 
Ainmilller : ^Westminster Abbey. 
Schorn : **The Deluge (unfin- 
ished). 
Ainmiiller : *Westminster Abbey. 
Piloty : *The Astrologer Seni be- 
fore the Corpse of Wallenstein. 
Kirchner : *Verona in Sunlight. 
Piloty ; **Thusnelda, wife of the 
great Hermann, captive at Rome. 
Tiberius, sitting upon the trib- 
une, is surrounded by senators 
and ladies. Thusnelda is leading 
her son Thumelicus ; before her 
are her father, Segestus, by whom 
she was betrayed, and some German 
warriors. Her brother, Sigismund, 
and other German chiefs march be- 
fore the triumphal car of Germani- 
cus, entering beneath the arch. 

3. Saloon. 

Kaulbach : ^-Destruction of Jeru- 
salem. On the left, the Jews; 
right, a group of Christians; in 
the background, Titus with his 
legions. 

Voltz : '"Return Home. 

Lange : *Lake Gossau ; Lake Gos- 
sau. 

Zimrnermann : ^Landscapes. 

4t. Saloon. 
Hess : * Austerlitz. 
Schraudolph : " x "The Healing the 
Sick. 



Schleich : *Bavarian Alps. 
Hess : *King Otto at Athens. 
JDietz : ^Storming of Belgrade. 
Hess : *Last Supper. 
Rugendas : Discovery of America. 
Eobell : *Battle of Hanau. 

5. Saloon. 

Horner: *The Walchensee. 
Overbeck : *Holy Family. 
Zivengatier : *Evening Landscape. 
Schraudolph : *Ascension. 

**©. Rottmann Saloon. 
This Saloon contains 23 land- 
scapes of Greece, executed by order 
of King Lewis I., by the court 
painter, Rottmann. 

1. Small Room. 

Stange : *Bay of Venice. 
Adam. : *Oattle Market. 
Haushofer : *Walchensee. 

2. Small Room. 

Coignet : *Passtum. 
Leys : *Dutch Village. 
Gerhardt : *St. Mark's. 
Kirchner : *Tomb of Count Borco. 
Etzdorf: *A Forge in Sweden. 
Heinlein : *The Ortles. 
Lichtenheld : **Moonlight. 

3. Small Room. 

A series by Kaulbach, represent- 
ing, allegorically, the contest of 
Modern Art against the rules and 
technicalities of the earlier styles; 
and also several portraits of emi- 
nent artists. 

4L. Small Room. 

Heilmayer : *Smugglers. 
Zimrnermann : ^Landscape. 
Diday : *The Wetterhorn. 



PINAKOTHBK, OLD. 



467 



Jacquand : *Gypsies before the 

Judge. 
Achenbach : **Storm at Sea. 
Zimmerma?in : **Winter. 

5„ Small Room. 

Sarazin : *Compiegne. 

Stieler : *Queen Theresa, in Coro- 
nation Robes. 

Riedel : **Mona Felice Beraidi ; 
**Maruccia Joli. 

Cabinets. 

Jakobs : *Harbor near Constanti- 
nople. 
Vermeersch : ^Italian City. 
Crola : *Village Mill. 



Fioroni 

Beveren 

Girl. 



3. 

*Italian Inn. 
*Confession of a Sick 



4. 

Biirkel : *Winter Scene. 
Kayser : *A Monk. 

5. 

Kuyk : *A Stable. 
Quaglio : *Moonlight. 

6. 

Jakobs : *Sunrise at Sea. 
Zimmerm.ann : *Winter. 

8. 
Verboeckhoven : *Sheepfold. 

9. 

Gaertner : *Convent. 
Fried : *Blue Grotto, Capri. 

lO. 

Bischof: *The First Snow. 

13. 

Eberle : **The Shepherd. 

14. 

Pfeifer : ^Viewing his Effort. 
Stange : *Moonlight. 



Pinakotliek, Old, Munich. 

The Old Pinakothek, or Gallery op Ancient Masters. About 
1,500 works, arranged in Schools ; 12 Saloons and 23 Cabinets. Open 
daily, ex. Sat., 9-3 (2 in winter) ; free. Catalogue, 2m. 60pf. 



■34 5 67 8 » 

>L J I L J ^ I | 



11 



10 



23 Cabinets 



[Pictures recently renumbered.] 



H 



Saloon of the Founders. John William, Elector Palatine, 
founder of the Dusseldorf Gallery; Maximianus Emanuel, Elector of 
Bavaria, founder of the Gallery of Sohleissheim ; Maximianus I. , Elec. 
of Bav., founder of his Gallery in Munich ; Ch. Theodore, Elector Pal., 



468 



PINAKOTHEK, OLD. 



founder of the Mannheim Gallery ; Max. Joseph, Elec. Bav., elected 
King 1806, decreed the erection of the Pinakothek; Lewis I., King of 
Bav. , built the Pinakothek, and greatly enlarged the Collection. 

1 and 2. Ante-Rooms. — Early German. 



3. Saloon. 

Durer : **SS. John and Peter. 
Wohlgemuth : **Crucifixion. 
Durer : **SS. Paul and Mark. 

4L. Saloon. 

Weenix : *Dead Game. 
Bol : *Flinck, the Artist. 
Rembrandt : **Sacrifice of Isaac ; 
^Sacrifice of Isaac. 

5. Saloon. 

Snyders : * Young Lions. 
Teniers, Tr. : *Florentine Fair. 
Snyders: *Kitchen. 

6. Saloon. (Rubens Room.) 

*Lion Hunt. 

*Fall of the Condemned. 
**Last Judgment. 
*Helen Fourment. 
^Children with Flowers. 
*Silenus and Bacchantes. 
*Helen Fourment and Son. 
^Religion Conquers Vice. 
"Diana and Nymphs. 
*Rubens and Wife as Shepherd and 
Maiden. 

7. Saloon. 

Velasquez : *Queen Henrietta. 
VanDyck: *May or of Antwerp. 

8. Saloon. 
Ghirlandaio : *Mary and Saints. 
Palmezzano : * Virgin Enthroned. 
Del Sarto : *Holy Family. 
Raphael: *Portrait; **Madonna 

Canigiani. Seep. 219. 



9. Saloon. 

Titian: *Emperor Ch. V. ; *Por- 

trait. 
IlMbretto: *Portrait. 

10. Saloon. 

Procaccini: *H. Family. 

Guido : *Ascension of the Virgin. 

11. Saloon. 

Zurbaran: *St. Francis. 

M u rillo : *Woman and Boy ; 

**Street Boys; **St. Thomas 

Healing; "^Spanish Girls ; 

**Spanish Boys; **Spanish 

Boys. 
Giordano : *Poultry Woman. 

13. Saloon. 

Mengs : *Capuchin Monks ; *Him- 

self. 
A. Kauffman: *Herself. 

Cabinets. 
3. 
Mending : *The Seven Joys of the 
Virgin. 

A. 

Durer: *Himself. 

6. 

Cuyp : * Horseman. 
Goyen: *Landscape. 

7. 

Metsu: ^Festival of the Bean King. 
Du Jardin : *Peasant Scene. 



THE PITTI PALACE. 



469 



8. 
Rembrandt: **Descent from the 
Cross ; ^Elevation of the Cross ; 
*The Ascension ; *The Entomb- 
ment. 

©. 

A. van Ostade : *A Quarrel. 
Steen : *The Physician. 
Dow: ^Candlelight. 

lO. 

Dow : *A Toilette. 

Mieris : **The Physician. 

Dow : *An Artist. 

Dow : *Hermits ; **The Quack — 

the Artist at the window. 
Slingelandt : *Cottage Scene. 

11. 

Mieris : *Cottage Scene. 

De Hooghe : **Dutch Interior. 

Doio : *Candlelight. 

13. 

Rubens : **Battle of the Amazons. 

13. 

Balen and Brueghel: *Summer 
and Ceres ; *Winter and Fire- 
side. 



14. 

Neefs : * Church Interior. 

15. 

Teniers, Yr. : *Genre Scene3. 

16. 

Brouwer : *Card-Players. 
Van Dych : *Crucifixion. 

17. 

Giotto : *Last Supper. 
Fra Angelico : *SS. Cosma and 
Damien. 

lO. 

Raphael: *Madonna di Tempi. 
See p. 219. **Madonna della 
Tenda. Seep. 219. 

21. 

Greuze : *Portrait. 

Netscher : *Lady Singing. 
Denner : *01d Man ; *01d Woman. 
Rottenhammer: *Marriage in Cana. 

33. 

Van der Werff: ** Abraham and 
Ha gar; **The Entombment; 
*Sarah and Hagar ; *The Scourg- 
ing ; **Ecce Homo ; **The Cru- 
cifixion. 

Tintoretto : *The Annunciation. 



The Pitti Palace, Florence. 

On the s. bank of the Arno, 1440 ; designed by Brunelleschi, and is 
regarded as one of the finest architectural structures of modern times. 
It was built by Luca Pitti. the opponent of the Medici, but a century 
later was sold by his grandson to the Medici family, and has since 
been a royal palace. It is now occupied by the King of Italy when re- 
siding in Florence. In the absence of the royal family, it may be 
visited upon application at the principal entrance. 



470 



THE PITTI GALLERY. 



The Pitti Gallery. 

Open daily, 10-3, 1 fr. ; Sunday and Thurs. in summer, 11-3 ; free. 
Entrance in the portico at the 1. of the palace, also by a long closed pas- 
sage from the Uffizi Gallery. The collection numbers about 500 pictures, 



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6 


7 

8 


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of which an unusually large proportion are masterpieces. In each room 
are fans, upon which are given the number, title, and artist of each 
picture. 
Corridor («)• — Porphyry Vase, copy of that at Berlin ; Sevres Vase. 



1. Hall op Venus. 
Ceiling by Pietro da Cortona. 
A. Diirer : *Eve. 
Hub ens: ^Landscape; *Landscape. 
Titian : **Portrait. 
A. Diirer : *Adam. 

2. Hall of Apollo. 

Talma, Vec. : *Supper at Emmaus. 
Murillo : *Virgin and Child. 
Perugino : *Mary Magdalen. 



Titian : *Peter Aretino. 

Del Sarto : *Descent. 

Raphael : **Mad. Doni ; *Angelo 

Doni ; **Leo X. 
Del Sarto : *Holy Family. 
Fra Bartolommeo : **Descent. 
Titian : **Mary Magdalen. 

3. Hall op Mars. 
Frescos by da Cortona. 
Raphael : **Pope Julius II. 
Del Sarto : *Holy Family. 



THE PITTI GALLERY. 



471 



Titian (?) : *Louis Comaro. 
Rubens : *Himself and others ; 

*Consequences of War. 
Bordone : *Repose in Egypt. 
Raphael: *Madonna dell' Impan- 

nata. Seep. 212. 
Allori: *Judith. 

4=. Hall of Jupiter. 

Frescos by da Cortona. 

Del Sarto: *Himself and Wife; 

*Virgin in Glory. 
S. Rosa: *Battle. 
Rubens : *Holy Family. 
Da Vinci (?) : *Portrait. 

5. Hall of Saturn. 

Ceiling by da Cortona. 

Van Di/ck: *Charles I. of Eng. 

and Queen Henrietta Maria. 
Raphael : **Madonna della Seg- 

giola. Seep. 213. 
Lotto : *Three Ages of Man. 
Raphael : *Cardinal Bibiena. 
Van Dijck : *Head of the Virgin. 
Raphael : ^Madonna del Baldac- 

chino. Seep. 211. 
Raphael : *Inghirami. 

6. Hall of the Iliad. 

Frescos by Sabatelli. In the cen- 
tre, statue of Charity by Bartolini. 

Giorgione : **A Concert. 
Titian : *Ippolito de Medici. 
Bartolommeo : *Madonna. 
Perugino : * Adoration. 
Titian : *The Saviour. 
Raphael (?) : *Portrait. 

7. Hall of the Stufa. 
Frescos on the walls, by P. da 

Cortona, represent the four Ages 
of Man and four Ages of the World 



— golden, silver, brazen, and iron. 
Ceiling by Rosselli ; four small an- 
tique marble statues ; a column of 
green porphyry, with porcelain 
vase with portrait of Napoleon I. ; 
bronze Cain and Abel, copied from 
the models of Dupre. 

8. Hall of the Education of 
Jupiter. 

Velasquez : ^Philip IV. 
Raphael (?) : *Portrait. 

Tintoretto : ^Descent. 
Bartolommeo : *Holy Family. 
Del Sarto : *St. John Baptist. 
Raphael : * Madonna del Gran- 
duca. Seep. 212. 

9. Hall of the Bath. 

Figures by Pampaloni ; orna- 
ments in stucco by Marinelli, sup- 
ported by four verd-antique col- 
umns. The four small statues of 
Venus are by Insom and Buon- 
giovanni. 

10. Hall of Ulysses. 

Ceiling by Martinelli. 
Del Sarto : Madonna. 
Titian : *Duke of Ferrara. 
Ag. Carracci: ^Landscape. 
Velasquez: ^Portrait. 

11. Hall of Prometheus. 

Painted by Colignon. In the 
centre, a magnificent round mosaic 
table, valued at $30,000. 
Fra Lippi : *Madonna. 
Fil. Lippi : *Holy Family. 
Fra Angelico : *M a donna and 

Saints. 



472 



SOUTH KENSINGTON MUSEUM. 



12. Corridor of the Columns. 

Mosaics: The Pantheon; Tomb 
of C. Metella ; the Arts of Painting, 
Sculpture, Music, and Architect- 
ure. Several miniature portraits ; 
works in ivory, crystal, and pre- 
cious stones. 



13. Hall of Justice. 

Ceiling by Fedi. 

Ouido : *St. Elizabeth. 
Hondecoeter : *Fowls. 
J. Both: *Landscape. 



14. Hall of Flora/ 

Ceiling by Marini. 

In the centre ,*V "enus, by Canova. 
Seep. 391. Two mosaic tables, rep- 
resenting the Cascini Palace and 
the Baths at Montecatini. 

15. Hall of the Children. 

{Piitti.') 
Frescos by Marini. 

S. Rosa: ^Landscape. 

J. Ruisdael : Landscape. 

S. Rosa : *Diogenes throwing away 
his Cup. 

16. Poccetti Gallery. 
Frescos by Poccetti. 

Bust of Napoleon L, by Canova; 
Table of malachite ; two of ala- 
baster. 



In the centre, fine ebony cabinet, 
containing pictures on jasper and 
lapis lazuli, by Brueghel. 

South. Kensington Museum, London. 

One mile beyond Hyde Park Corner ; by omnibus, or by the Under- 
ground to S. Kensington Station. Open daily, ex. Sun. ; W., Th., Fr., 
1 0-4 or 6 ; 6d. M., Tu. , Sa. , 1 Oa-lOp ; free. 

The collections consist of objects of mediaeval art, paintings, sculpt- 
ures, jewels, enamels, ivory, porcelain, pottery, terra-cotta, glass, tapes- 
tries, embroideries, etc. 

Name and other information is given on a card attached to each arti- 
cle, but for anything beyond a cursory glance a catalogue is necessary ; 
to be found at the book-stalls of the museum. 

Architectural Court. — Casts of monuments, columns, tombs, doors, 
etc. 

South Court. — Ivory, seals, medallions, bronzes, weapons. 

Oriental Court. — Chinese and Japanese work. 

East Cloister. — Tapestries, fabrics, chimney-pieces. 

NortJi Court. — Shrines, altar-pieces, renaissance sculptures. 

North Cloisters. — Terra-cotta, fernery, furniture, carriages. 

Upper Floor. — Smith Coll. of water-colors. Royal Acad. Coll. 
Forster Coll., paintings, books, autographs. Dyce Coll., books, draw- 
ings, engravings. 

Raphael Room, containing 7 of the original cartoons of Raphael. See 
p. 68. Also two Raphael Madonnas, Nos. 55 and 56. See p. 208. 

The Sheepshank Coll. contains several *Landseers. 

The National Portrait Gallery, on the opposite side of the 



TORLONIA GALLERY. 



473 



street, to the west, contains a fine collection of portraits of English 
notables. 

The Museum of Natural History, in a magnificent building one 
square to the west, is one of the largest and most complete scientific 
collections existing. 

Spada alia Rcgola Palace, Rome, Pi. di Capo di Ferro. 

OpenM., W., S., 10-3. The chief object of interest is the colossal 
**statue of Pompey, found 1550, regarded as the identical statue at 
whose base " Great Caasar fell." See Pompey. 

Antiquities, Ground Floor ; % fr. 



Room 1. 
*Statue of Aristotle. 

Room 2. 

*8 Reliefs, found, 1620, in the Ch. 
of St. Agnes, where, with the 
face downward, they had been 
used for a pavement. 



65. Daedalus and Pasiphae. 

66. Wounded Adonis. 

67. Ulysses and Diomedes. 

68. Paris taking leave of GEnone. 

69. Hypsipyle finds Opheltes. 

70. Amphion and Zethus. 

71. Bellerophon. 

72. Paris and GSnone. 



Torlonia Gallery, Rome. 

The Torlonia Collection of statuary is in the Pal. Torlonia, via della 
Stalle de Corsini, Rome. Admission only upon permit, which is to be 
obtained upon application at the Torlonia Palace, Piazza di Venezia. 
The collection numbers nearly 600 statues, of which large numbers have 
been restored. 



3. Corridor. 
^Julius Caesar. *Niobe. 

<A. Corridor. 

^Crouching Venus. 
Crouching Venus. 

These are antique copies of a 
work by an unknown master. 

First Saloon. 

**Giulia Domna. *Minerva. 
*Sarcophagus of the time of Sep- 
timius Sever us, in alto-relievo. 

Hall op the Sarcophagi. 

In centre is a white marble 
Cupid drawn by wild boars. 



Sarcophagi, with the Labors of 

Hercules. 
Bas-relief of the Port of Claudius, 

found at Porto. 

Hall of Animals. 

Containing 17 representations of 
different animals. 

Hall of Athletes. 

No. 385 was found at Anzio ; 
the others at Porto. 
410. A large Tazza. A single piece 

of Egyptian breccia ; the largest 

specimen known. 

Gallery of Imperial Busts ; 
nearly all of the Imperial age. 



474 



UFFIZI GALLERY. 



**Uifizi Gallery (oo-fit'-zi, offices), Florence. 

Open daily ; Sun. and Thursdays in Summer, 11-3, free. Other 
days, 10-3, 1 fr. 

The Portico, extending on the r. of the Palace Vecchio (old), is 
adorned with statues of eminent men of Tuscany — names on the bases. 
Commencing on the I., Orcagna, Nic. Pisano, Cosmo (rear), Lorenzo the 
Magnificent (rear), Giotto, Donatello, L. B. Alberti, L. da Vinci, M. 
Angelo, Dante, Petrarch, Boccaccio, Macchiavelli, Guicciardini, Amer- 
icas Vespucci, Galilei, P. A. Michel, Fran. Redi, Mascagni, Cesalpino, 
S. Antonino, Accorso, Aretino, Cellini. 




■K- 6 



* 5 

P 



9 

10 

11 

12 



— r 

South Corridor 14 



13 



1. First Vestibule. 

2. Second Vestibule. 

3. East Corridor. 
**4. The Tribune. 
*5, 6. Tuscan School. 

7. Ancient Masters. 

8. Italian School. 

9. Dutch School. 

10, 11. Flemish and German Schools. 

12. French School. 

13. Cabinet of Gems. 

14. South Corridor. 



15. West Corridor. 

16, 17. Venetian School. 

18. Modern Sculpture and Coins 

19. Passage to the Pitti. 
*20, 21. Halls of Portraits. 

22. Hall of Inscriptions. 

23. The Hermaphrodite. 

24. Cabinet of Cameos. 

25. Hall of Baroccio. 

26. Hall of Niobe. 

27. 28. Antique Bronzes. 
29. Feroni Gallery. 



UFFIZI GALLERY. 



475 



Ascending two long flights of stairs, turn to the left and pass half 
way down the corridor for entrance to the rooms (4). 
East Corridor, unimportant pictures and statues. 



Room 4L. The Tribune, 
Erected at a cost of $100,000. 

Sculptures. 

**342. Venus de' Medici. See p. 

393. 
343. The Wrestlers; found with 

the Niobedes ; supposed to be by 

Cephisidotus or Heliodorus. See 

p. 411. 
**344. Dancing Faun, attributed 

to Praxiteles. 
345. Young Apollo. See p. 25. 
**Knife-grinder. Seep. 185. 

Paintings. 

Da Volterra : *Massacre of the In- 
nocents. 

Titian: * Venus Reposing. 

Mantegna : *Triptych, Adoration ; 
r., Circumcision: 1., Resurrec- 
tion. 

Del Sarto : *Holy Family, with St. 
Francis and St. John; master- 
piece. 

Guercino : *Samian Sibyl. 

Titian : *Venus Reposing. 

Correggio : *Repose in Egypt. 
Painted for the Ch. of Francis- 
cans of Parma, for 100 ducats. 

Raphael: *Portrait. 

Perugino : ^Virgin and two Saints. 

Piombo : *Fornarina (hitherto at- 
tributed to Raphael). See p. 
136. 

F, Francia: *Portrait. 



Raphael (?) : * Virgin at the Well. 

Seep. 213. 
Raphael ; **Pope Julius II. 
Correggio: *Madonna. 
Luini: *Herodias. 
P. Veronese: *Holy Family and 

St. Catherine. 
M.Angelo : *Holy Family, painted 

for A. Doni, for 140 ducats. 
Dilrer : * Adoration of the Kings. 



Room 



Tuscan School. 



Fra Bartolommeo : *Nativity. 
Massaccio (?) : *01d Man. 

" Probably by Botticelli."— C. & C. 

Del Sarto : *Himself. 

Fra Lippi : *St. Augustine. 

Room 6. Tuscan School. 

Da Vinci: * Adoration. 
Albertinelli : *Visitation. 
Fra Bartolommeo : ^Madonna. 
Bronzino : *Descent. 
R. Ghirlandaio : *Descent. 
Sodoma: *St. Sebastian. 

Room 7. Hall of Ancient 
Masters. 

Da Vinci (?) : Annunciation. 
Signorelli : *Holy Family. 
Fra Angelico : *St. Peter. 
D. Ghirlandaio : *Madonna. 
P. Francesca: ^Portraits. 
Botticelli (?) : *Madonna. 
Pollaiuolo : *Prudence. 
Fra Lippi : *Madonna. 



476 



UFFIZI GALLERY. 



Room 8. Italian School. 

D. Dossi : *Massacre of Innocents. 
S. Rosa: "^Landscape. 
Mantegna: *Madonna. 

Room O. Dutch School. 

J. Ruisdael: *Landscape. 

Rembrandt : *Interior. 

Metsu : *Lady and Sportsman. 

Rembrandt : ^Landscape. 

F. Mieris : *Himself and Family. 

Van der Werff: * Adoration. 

Room lO. Flemish and German. 

Holbein, Yr. : *R. Southwell. 
Durer : *01d Man. 
Claude : *Marine View. 
Dow: ^Schoolmaster. 
Elzheimer : ^Landscape. 
Van der Weyden : *Entombment. 
Rubens : *Venus and Adonis. 

Room 11. Flemish and German. 

Memling : *Madonna Enthroned. 
Cranach: *St. George. 

Room 12. French. 
Clouet: *Francis I. 

Room 13. Cabinet of Gems. 

Six cases, containing over 400 
articles of work in gems and pre- 
cious stones; columns, vases, busts, 
cups, etc. ; eight columns of agate, 
eight of crystal, and eight statues 
of Apostles. 

Case I. (on the r.) : Lapis lazuli 
vase, 13 in. in diameter ; 2 bas-re- 



liefs, gold on jasper ground; 3 
small busts in hyacinth; small 
agate vase. 

Case II. *2 vases, sardonyx; 
**rock crystal casket, with Life of 
Christ in 24 sections ; cup of crys- 
tal, cover of gold enamel with ini- 
tials of Diana of Poictiers. 

Case III. Several vases in rock 
crystal, agate, and jasper ; triangu- 
lar cup of green enamel. 

Case IV. Lapis lazuli vase, with 
pearls ; jasper cup with warrior in 
gold. 

Case V. Jasper cup, with Hercu- 
les, G. da Bologna; a turquoise 
head, with diamond eyes ; red jas- 
per vase, view of Piazza della Sig- 
noria in gold bas-reliefs. 

Case VI. Cup with gold handles, 
Cellini (?) ; garnet cup, bust of Ti- 
berius ; centre-table, with mosaic 
of Port of Leghorn. 

14L. South Cobbidob. 
*Statue ; Boy with the Thorn. 

15. West Cobbidob. 
At the end, Copy of the Laocoon. 

Room 1C Venetian School. 

Pordenone (?) : ^Portrait. 
Titian: *Portrait. 

Room XT'. Venetian. 

Titian: *Battle; *Madonna. 
GiorgioneC?'): *Inf ant Moses ; 
*Knight of Malta. 



UFFIZI GALLERY. 



477 



Titian : **Portrait ; *Madonna. 
Palma, Vec. (?) : *A Geometrician. 
In a room to the rear of No. 17, 
**Fra Angelicd's Madonna. 

Room 18. Collection of Coins. 
Shown by special permission. 

19. Passage leading to the 
Pitti Gallery, containing 30,000 
drawings, and many woodcuts and 
engravings. 

Rooms 30 and 31. Hall of Por- 
traits of Painters. 

Statue, Leopold de' Medici ; 
founder of this Collection. 

**Medicean Vase, with sacrifice 
of Iphigenia. 

The Portraits are by the artists 
themselves. 

Portraits. 

*Rubens. *Masaccio. 
*Perugino. *Raphael. 



*Michael Angelo. *L. da Vinci. 

*Titian. *A. Durer. 



Room 33. Hall of Inscrip- 
tions. 

*Solon. 

Room 33. Cabinet of the Her- 
maphrodite. 

^Hermaphrodite. 
*Bust. *Bust. 

Room 31. Cabinet of Gems. 

Among the most noted : 

Case 3. *68. A Bacchante, onyx. 

Case 7. *44. Hercules. 

Case 11. Ring of Augustus, with 
Sphinx ; used by him as a seal ; 
found in the tomb of Augustus at 
Corea, near Rome. 

Case 13. *371. Savonarola. 
*334. Allegorical Marriage. 
*386. Ring with Head, Sapphire. 



Room 35. Hall of the Baroccio. — Four Mosaic tables. On the cen- 
tre one, 22 artists were employed for 25 years, at the cost of nearly 
$100,000. 

Room 36. Hall of Niobe. — Erected for the reception of these statues, 
which were found on the Esquiline Hill, Rome, and purchased by the 
Cardinal de' Medici for 8,000 fcs. The mother, 7 sons, 7 daughters, 
and the pedagogue. See p. 265. 

Rooms 37 and 38. Antique Bronzes. — Regarded as the finest col- 
lection in Europe, after Naples. *Mercury ; *Head of a Horse. 

Room 30. The Feroni Gallery. — Contains a limited number of 
paintings of minor value. 

The Corridors have a large number of paintings, statues, and casts, 
all comparatively unimportant. 



478 



VATICAN, PICTURES. 



Vatican, Pictures. 

Picture Gallery, Pinacoteca, Vatican, Rome. Daily, 9-3, ex. Sat., 
Sun. and Holidays. (In summer the hours are sometimes 10-1.) En- 
trance in the Colonnade on the r. , past the Swiss Guard, three nights up. 
Permit necessary, obtained up the stairs to the r., beyond the Swiss 
Guard See Vatican. 



a 


b 
i 

G 


d 


b 


a 
ii 

c 


d 


a 


d 

UI 

b 






c 

d 


Vestibule. 








b 


a 

IV 

c 

















Each picture has the title and name of the artist attached, but many 
of them are without numbers. 

BoomI. Wall (a). — St. Jerome, da Vinci ; Annunciation, Adora- 
tion, and Presentation, 3 by Raphael ; Christ and Thomas, Guercino ; 
*Dead Christ and Magdalen, Mdntegna ; Madonna and St. Jerome, 
Fr. Francia. 

Wall (b). — Dead Christ and Mary, Crivelli. 

Wall (c). — Adoration of the Shepherds, Murillo ; Martyrdom of St. 
Peter, Murillo ; Marriage of St. Catherine, Murillo ; Miracles of St. 
Hyacinth, Gozzoli ; Madonna, SS. Catherine, John, Peter, and Paul, 
Bonifazio ; SS. Benedict, Scholastica, and Placidus, Perugino ; Ma- 
donna, on gold ground, Fra Angelico. 

Wall (d). — Faith, Hope, and Charity, Raphael; SS. Joseph and 
Catherine, Garofalo. 

Boom n. Wall (6). — **Communion of St. Jerome, Domenichino. 
See Jerome, St., Com. of. 

Wall (c). — **Madonna di Foligno, Raphael. See Madonnas, "No. 49. 

Wall (d). — **The Transfiguration, Raphael. See Transfiguration. 

Boom ILL Wall (a). — Madonna with *St. Sebastian and others, Ti- 
tian; St. Margaret, Guercino. 

Wall (&). — St. Lawrence, Ribera; Mary Magdalen, Guercino ; Coro- 
nation of the Virgin, Pinturicchio ; Besurrection, Perugino or Ra- 
phael ; see Perugino. (The sleeping soldier is said to be a portrait of 
Baphael ; in return for which Baphael gave the fleeing soldier the face 



VATICAN, SCULPTURES. 479 

of Perugino.) Assumption of the Virgin, designed by Raphael ; upper 
half painted by G. Romano, lower half by F. Penni ; Nativity, Lo 
Spagna; Head of Joseph ; ^Coronation of the Virgin, 1502, Raphael ; 
*Madonna Enthroned, with Saints, Perugino ; Madonna, Sassoferrato. 

Wall (c). — Entombment, Caravaggio. 

Wall (d). — Doge, Titian-, The Crucifixion, and Coronation of the 
Virgin, in several sections, Alunno ; Sixtus IV. and others, fresco, M. 
da Forli. 

Room IV. Wall (a). — Martyrdom, Valentin; Crucifixion of Peter, 
Guido ; Martyrdom of Erasmus, JV. Poussin. 

Wall (b). — Annunciation, Baroccio ; Mass of Gregory the Gt., Sac- 
chi ; St. Michelina, Baroccio. 

Wall (c). — *Madonna and Saints, Mbretto ; Vision of St. Helena, P. 
Veronese. 

Wall (d). — SS. Thomas and Jerome, Guido ; Christ in a Glory, Cor- 
reggio ? St. Romauld, A. Sacchi. 

Vatican, Sculptures* 

Sculpture Gallery.— Admission by permit, M., T., W., F., 9-3. 
See Vatican. 

The sculptures embraced in the Vatican Museum far surpass those of 
any other collection in the world, both in numbers and excellence. 

Entrance. — The principal entrance is from the Corfcile di S. Damaso, 
on the r. of the staircase above the r. colonnade of St. Peter's. 

Corridor of Inscriptions. — Before reaching the main entrance, we 
pass a corridor, 2,000 ft. in length, lined with inscriptions, chiefly epi- 
taphs ; on the r. about 3, 000 pagan ; on the 1., 1,100 Christian. (Not 
visited when entrance is made at b. ) 

Present entrance is gained by passing to the left of St. Peter's, en- 
tirely around the rear of the church, to the termination of the long pas- 
sage (6). 

As by this entrance the rooms and numbers are all presented in re- 
versed order, the visitor will be better able to follow the catalogue by 
passing at once entirely through the museum, 16, 15, 14, 11, 10, 4, 3, 2, to 
the main entrance (a) ; thence the rooms and numbers follow in order. 

1. Braccio Nuovo (brac'-chee-o-noo-o'-vo). — Along the walls, 
above the niches, are bas-reliefs from the columns of Trajan and Anto- 
ninus ; above the entrance, Achilles dragging the body of Hector. 



f~ ~jT~| 



12 Gal. of Statues 



Busts 




:j 



e 



03 
U 

© 

Oh 



W 



S-l 

08 

S-i 

o 

-*-3 



cS 



Court. 
(Cortile) 

10 



^ 



Mus. Etrusco. 

20 



ii is 

I— I 

CD 

a 

sS 

o 1 



a, 
19. 



Court. 



(Dratvnrto no scale. Some 
of the minor passages of 
reduced proportions.) 



Braccio Uuovo 






* 



a 



a. Principal entrance. 

b. Present entrance. 
**1. Braccio Nuovo. 

2. Museo Chiaramonti. 

3. Hall of the Torso. 

4. Hall of the Vase. 
*5. HaJl of Meleager. 

6. Cabinet of the Boxers. 



**7. Cabinet of Mercury. 
**S. Cabinet of Laocoon. 
**9. Cabinet of Apollo. 

10. Cortile di Belvedere. 
*11. Hall of Animals. 
**12. Gallery of Statues. 
13. Cabinet of Masks. 
**14. Hall of the Muses. 



**15. Rotunda. 
*16. Hall of the Greek CroaP, 
*17. Hall of the Biga. 

18. Gallery of Vases. 

19. Gallery of Tapestries. 

20. Etruscan Museum. 

20. First floor, Egyptian 
Museum. 



VATICAN, SCULPTURES. 



481 



*Sileuus. 

**14. Augustus, found, 1863, at 
Villa Livia. See p. 32. In front, 
in the pavement, mosaic of Ulys- 
ses escaping the Siren. 

*23. Pudicita. 

*47. Caryatide, copy of Phidias. 

*Trajan. 

*82. Demosthenes, found at Fras- 
cati. 

**67. Apoxyomenos, from Traste- 
vere, 1849, copy of Lysippus. 
Seep. 25. 

*71. Amazon, restored by Thor- 
waldsen. 

*86. Fortune, from Ostia. 

*89. Philosopher (Hesiod). 

*92. Venus Anadyomene. See p. 
390. *96. Marc Antony. 
In the pavement, mosaic, Diana 

of Ephesus. 



1 *109. Nile, found near S. M. Sopra 
Minerva. The 16 children, or 
Cupids, refer to the 16 cubits rise 
of the Nile, to insure fertility. 
On the back and sides are pig- 
mies and crocodiles, 

*112. Juno. 

• :Hf 114. Minerva Medica. Believed 
to be a copy of the celebrated 
statue of ivory and gold in the 
Parthenon. Regarded as one of 
the finest statues of the goddess 
existing. Parian marble. See p. 
249. 

*120. Faun, after Praxiteles. 

-"'121. Commodus. 

"""126. Athlete, restored as Discobo- 
lus, afterward found to be the 
Spear- bearer of Polycletus. 

*132. Mercury, from Villa Negroni, 
restored by Canova. 



2. Museo Chiaramonti contains about 700 sculptures, arranged in 
30 compartments ; of less interest than the preceding gallery. 



Comp. 8. *179. Sarcophagus, with 

Myth of Alcestis. 
*182. Altar of Bacchus. 
©. *229. Silenus, double statue. 
11. *254. Niobe. *259. Head. 
141. *Venus Anadyomene. 
16. *400. Tiberius; *401. Au- 



gustus. Both found at Veii, 
1811. [p. 33. 

17. **416. Young Augustus. See 
SO. ""494. Tiberius; *495. Bow- 
bending Cupid, after Praxiteles ; 
*498. Drowsy Spinster. 
25. *607. Neptune, from Ostia. 



The Vestibule of the Belvedere comprises three Halls, 3, 41, 5. 

3. Hall of the Torso.— *2. Sarcoph. of L. C. Scipio Barbatus, 
consul B.C. 298, and gt. gd. -father of S. Africanus; found, 1780, in the 
tomb of the Scipioe, on the Appian Way. See Scipio. 

**3. TorBO of Hercules, by Apollonius, from the Baths of Caracalla. 
Among the finest sculptures known. Winckelmann regards it as the 
deified Hercules, and as a nearer approach to the sublime than the 
Apollo. Angelo declared himself its pupil, and, after the loss of his 
sight, used to have himself led to it that he might enjoy passing his 
hands over its surface. 

41. Hall or the Vase. — *5. Fragment, drapery greatly admired by 
Raphael. *9. Marble Vase, in the centre. 



482 VATICAN, SCULPTURES. 

In front of this Hall is a balcony which commands so fine a * view 
as to have given the name Belvedere to this portion of the palace. On 
the balcony * ancient wind indicator, found, 1776, near the Coliseum. 

5. Hall of Meleager. — **10. Meleager, with dog and boar's head ; 
found, about 1500, near the Porta Portese. See Meleager, 21. Bust of 
Trajan. 22. Galley of two tiers of oars. 

<5. Cabinet of the Boxers. — 32. Perseus, Canovct. 33. Pugilists. 
34. Mercury, found at Prasneste. 35. Minerva. 

In the Portico. — 36. Basin of Egyptian granite from Circus of Nero. 
*37. b. r. Sarcoph., Ariadne discovered by Bacchus; from Orte, 1723. 
38. Bas-relief, Hecate and Diana fighting the Titans. 39. Triumphal 
Procession. 43. Sallustia, wife of A. Severns ; found in the garden of 
A. Severus, near St. C. in Gerusaiemme. 44. Altar to Mars and Venus. 
45. Altar to Augustus. 49. Sarcoph. , battle of Amazons and Greeks. 

7. Cabinet of Mercury. — **53. Mercury (formerly called Anti- 
nous), one of the most perfect pieces of Greek sculpture. See Mercury. 
54. b. r. Combat of Greeks and Amazons. 55. b. r. Procession to the 
Temple of Isis. 

In the Portico. — 58. Roman Lady. 59. Cippus, beautifully orna- 
mented. 60. b. r. The Genii of Death. 61. Urn, with Thetys and 
Nereids. 64, 65. Molossian Dogs. 

8. Cabinet of the Laocoon. — *""Laocoon, Greek masterpiece. See 
laocoon. 

In the Portico. — 79. Hercules and Bacchus. 81. b. r. with large fig- 
ures — time of Nero. 82. Bath, a former sarcoph. from Hadrian's tomb. 
*85. Hygeia. 86. Altar, in form of a house. 88. Sarcoph., with Im- 
perial Triumph. 

9. Cabinet of Apollo. — **92. Apollo Belvedere, regarded by many 
as the finest sculpture known. See Apollo. 93. b. r. Lion Hunt. 94 
b. r. of Bull led to Sacrifice. 95. Venus. 



11. Hall of Animals. 
This collection of sculptured ani- 
mals is entirely unequalled by any 
in the world. 

^Sacrifice to Mithras, the Persian 
sun-god. The finest representa- 
tion of the subject known, from 
Ostia. 
*Triton with Nereid. * Minotaur. 

13. Gallery of Statues. 



iteles; brought from Greece by 
Caligula. Pliny speaks of it as in 
the Portico of Octavia. Found 
two miles beyond the Porta Mag- 
giore. Seep. 124. 

**Apollo Sauroktonos, after the 
bronze of Praxiteles. Seep. 25. 

* Amazon, copy of the statue in the 
Temple of Diana at Ephesus. 

*Posidippus,and*Menander. These 
two statues, the finest referring 



#*Cupid, called Eros and the Ge- to Comedy, formerly stood at the 
nius of the Vatican, by Prax- i entrance of the theatre at Athens. 



VATICAN, SCULPTURES. 



483 



Hall of Busts, 

being a continuation of the Gal- 
lery of Statues. 

*AngustuB. *Caracalla. 

**326. Jupiter. See p. 182. 

*375. Isis. *Minerva, from Ha- 
drian's Tomb. 

*399. ^Rsculapius and Hygeia. 

*410. Flora, from the tomb of Aug. 

**414. Sleeping Ariadne, formerly 
called Cleopatra, and also a 
Naiad. Seep. 29. 

13. Cabinet of Masks (% fr.), 

with 8 beautiful columns, having 
gilt capitals. 

On the pavement is the ^mo- 
saic, from Tivoli, 1780, which gives 
name to the cabinet. The centre 
contains masks crowned with lau- 
rel, and a landscape. 
*427. Bacchante. 



*443. Adonis, incorrectly restored. 
On the Balcony, outside, several 
inferior sculptures. Fine view. 

14. Hall of the Muses. 
Octagonal, with dome supported 
by 16 columns of Carrara marble 
from Tivoli; ceiling with modern 
frescos ; pavement contains theat- 
rical mosaics, found at Porcareccia, 
8 miles from Rome. Within the 
railing, the head of Medusa. The 
busts in this Hall are chiefly from 
Hadrian's Villa. 
*496. Homer. 490. Diogenes. 
492. Sophocles. 503. zEschines. 
505. Demosthenes. 
*517. Terpsichore, copy of the cele- 
brated original by Phyliscus. 
Pliny states that it stood in the 
Portico of Octavia. 
523. Aspasia, wife of Pericles ; the 
only one known. 



The Gallery of Statues is re-entered. 



15. Rotunda. 

Erected especially for the mag- 
nificent porphyry basin standing 
in the centre ; 42% ft. in circumfer- 
ence, from the Baths of Titus. On 
the pavement magnificent *mosaic, 
the largest known, from Otricoli. 
**539. Jupiter, copy of Phidias, 

from Otricoli. Seep. 180. 
*542. Ceres, admirable drapery. 
*544. Hercules, 12 ft. high, gilded 
bronze, found near the Theatre 
of Pompey, 1864. See p. 164. 
*545. Antinous. Seep. 19. 
**546. Juno Barberini, a most per- 
fect antique, copy of the original 
of Praxiteles. See]). 181. 



lO. Hall of the Greek Cross. 

At the sides of the entrance 
are colossal Egyptian idols; upon 
the entablature, b. r. of gladiators 
struggling with wild beasts ; upon 
the pavement are mosaics ; that 
within the railing represents Mi- 
nerva surrounded by various sym- 
bols, 1741 ; admirable harmony of 
color. 

*559. Augustas, remarkable for its 
likeness to Napoleon I. Seep. 32. 
566. Red porphyry sarcoph. of Con- 
stantia, dau. of Const, the Gt., 
and friend of St. Agnes; gro- 
tesque b. r. Paul II. removed 
this to the Lateran, intending it 



484 



VATICAN, SCULPTURES. 



for his own remains, but he died 
before the completion of the 
tomb. 

**574. Venus of Cnidos, the most 
perfect copy known of the re- 
nowned Venus of Praxiteles ; 
parts of the arms are restorations. 
Seep. 392. 

*582. Apollo Palatinus, copy of 
original by Scopas. 

589. Red porphyry *sarcoph. of S. 
Helena, mother of Constantine. 
On the 1. is the entrance to the 

Egyptian Museum, over which is 

the Etruscan Museum. Ascending 

the stairs on the r. is 

17. Hall of the Biga. 

612. Pontifex Maximus (?), drapery 
admired by Canova. *615. Dis- 
cobolus in repose, after Nauki- 
des, from the Appian Way. 

*618. Discobolus in action, after 
Myron, found at Villa Palom- 
bara, 1781. Seep. 107. 

**623. The Biga; anciently stood 
in a temple of the Sun, afterward 
for some centuries was the seat 
of the bishops in the ch. of St. 
Mark, Rome. The r. horse and 
all of the 1. except the torso, are 
restorations. Seep. 48. 



18. Gallery of Candelabra, 

in six compartments. 

19. Gallery of the Arazzi, 

or Tapestries of Raphael. 

These tapestries were manufact- 
ured in Arras, Flanders, from the 
cartoons of Raphael, designed, 
1515. In the sack of Rome, 1527, 
they were carried away, but re- 
stored in 1554. In 1798 some of 
them were again carried to Paris, 
but were returned, 1808. See Car- 
toons, p. 68. 

Nos. 1, 2, 3, 4, 5, 7, 11, 15, 19, 
and 21 only, are from the cartoons 
of Raphael. 

1. Conversion of St. Paul. 

2. Peter receiving the Keys. 

3. Paul heals the Lame Man. 

4. Draught of Fishes. 

5. Sacrifice to Paul and Barnabas. 

7. Paul at Athens. 

8. Christ appears to Mary. 

9. Supper at Emmaus. 

10. The Presentation. 

11. Slaughter of Innocents. 

12. The Adoration. 

13. Ascension. 14. Adoration. 
15. Death of Stephen. 

19. Death of Ananias. 
21. Paul in Prison. 



SO. Etruscan Museum. — Entrance from the top of the stairs. 
Visitors knock. (Fee % fr.) 

The Collection of Etruscan Antiquities occupies 12 rooms. 

Room 1. — Sarcophagi and terra-cotta portrait heads. 

Room 2. — Sarcophagi and cinerary urns with mythological reliefs. 

Room 3. — Sarcophagi with reliefs ; house-shaped urns, found be- 
neath a lava bed. 

Room 4L. — Terra-cottas ; Mercury ; Venus and Adonis ; Jupiter, 
Neptune; Hercules. 

Room 5. — Vases, Etruscan, Greek, Egyptian, Asiatic, representing 
mythological subjects in red and black. 



VENICE ACADEMY. 485 

Room G» — Hall of the Apollo (painted by Vasari). Mosaics from 
Hadrian's Villa ; vases and amphora with mythological representations ; 
Ajax ; Achilles ; Hector ; Hercules. 

Room 7 '. — In 2d niche, *Minerva and *Hercules ; 6th niche, *Hector 
and Priam. 

Room 8. — Goblets. On the wall, copies of paintings from a tomb 
at Vulci. 

Room 9. — Bronzes ; ornaments ; weapons ; jewelry. 

Room 1©. — Bronzes; vases; Child with Bird ; sarcophagi. 

Room 11. — Vases; tomb paintings. 

Room 13. — Imitation Etruscan tomb, with burial cases. 

20. Egyptian Museum.— Entrance from Hall of the Greek Cross. 
Collection, occupying ten rooms, is of less interest than the preceding. 

Room 1. — Hieroglyphics ; inscriptions ; cuneiform characters. 

Room 2. — Papyrus rolls. 

Room 3. — Idols; coins. 

Rooms 1, 5. — Mummies ; bronze animals ; scarabeus. 

Room 6. — Statues of Isis ; mummies, coffins. 

Room 7. — Vases ; idols. 

Room 8. — Various works from Hadrian's Villa; *Antinous; Nile, 
black marble. 

Room O. — Colossal Egyptian statues ; Ptolemy Philadelphus and his 
queen. 

Room lO. — Mummies ; sarcophagi. 

Venice, Academy of Fine Arts* 

ACCADEMIA DELLE Belle Arti, Venice, s. side of the Grand Canal, 

at the Iron Bridge. 

Daily, 10-3, 1 fr. ; Sun. free. Twenty-three saloons. 
Ascending the stairs turn to the left. 

Sala 1. Sala 2. 

T . „ „. , . . Copy of Raphael's Transfigura- 

Laurent & Bissolo : Annuncia- i , . „ ■ «„^ 

tion. See p. 379. 



tion. 

J. & A. Murano : The Virgin. 
Murano : Virgin and Fathers of 

the Church. 



Vestibule (A). 

Statues of Adonis, Titian, Chiron, 
and Christ. 



Raima, Vec. ; ^Christ at Nain. 
Copy of H. Family by Raphael. 
Gio. Bellini: Madon. and Child. 
Catena : Madon. and Saints. 
Cima : Madon. and Saints. 
Boccacino : Madon. and Saints. 
Du Jardin : Repose of Soldiers. 
Callot : Market Scene. 
In the centre : Daedalus and Icarus. 



480 



VENICE ACADEMY. 



PICTURE GALLERY 



7 


8 




D 

D 
n 


E 








i 

9 


10 


. 


10 














1.0 














12 i? 




D 










I 


13 




D 


E 


6 




< 






3 




14 


4 


2 


5 


c 


A 


i 


i 


I 



A, Vestibule; B, Gallery of Statues; C, Corridor; D, D, Dipinti; E, E, Loggie 

Palladiana. 



Sala 3. 

Oio. Bellini : Several allegorical 
pictures. 

Sala J=. 

Sculptures in wood by Brustolon. 
Twelve statues in ebony — Ethi- 
opians bearing vases. 

Sala delle Statue (B). 
Principally casts. 



Corridor (C). 

Sala 5. 
Less important pictures. 

Sala 6. 
Bronzes, terra-cotta, and marble. 

Dipinti (D). Five small rooms. 

Oio. Bellini: **Madonna and 
Child. 



VENICE ACADEMY. 



4S? 



Cima: Dead Christ, Nicodemus, 
and Mary. 

Titian : Ant. Capello. 

Loggia Palladiana (E). 

Hondecoeter : Poultry; Cocks. 
Tintoretto : Ant. Capello. 
Berkheyden : A Merchant. 
Schedone : Descent from the Cross. 
Schiavone : Holy Family. 
Da Messina : Mater Dolorosa. 
Titian : Jacopo Soranzo. 

Sala 7. 

Bonifazio : Massacre of Innocents. 

Da Cortona: *Daniel with the 
Lions. 

Statue : Canova's original model of 
Hercules casting Lycas into the 
Sea. 

Bassano : St. Eleucthera. 

Titian : ""^Presentation of the Vir- 
gin in the Temple. 
The old woman selling eggs is 

said to be a portrait of Titian's 

mother. 

P ordenone : The Virgin of Carmel 
and Saints ; Saints. 

Carp actio : * Simeon. 

Veronese : Annunciation. 

Bordone : Fisherman presenting 
to the Doge the ring of St. Mark. 

Bassano ; Christ raising Lazarus. 

Bonifazio: *Rich Man and Cour- 
tesans. 

Tintoretto : Virgin and Child, and 
Senators. 

P. Veronese (?) : *Feast in the 
House of Levi. 

Bonifazio : Christ and Apostles. 



P. Veronese : **Holy Family, with 
little St. John Bap. standing on 
a pedestal. The life-like flesh of 
the St. John is scarcely surpassed 
in art. 

Sala 8. 

Gen. Bellini : Miraculous recovery 
of a piece of the true Cross lost 
in the canal. 

Cima: Temperance. 

Basaiti : Gethsemane. 

Carp actio: 10, 11. English Am- 
bassadors asking the hand of St. 
Ursula for their Prince ; 14. The 
Eng. Prince taking leave of his 
Father; 18. St. Ursula and the 
Virgins arrive at Cologne ; 20. St. 
Ursula and the Virgins received 
by the Pope and Cardinals at 
Rome. 

P. Veronese : *Feast in the House 
of Levi. 

Gen. Bellini: *Procession in St. 
Mark's Square, showing it as it 
existed in 1496. The Holy Cross 
heals a wounded young man. 

C arp actio : Crucifixion of 10,000 
Martyrs on Mt. Ararat ; St. Ur- 
sula in Glory ; Curing a Demo- 
niac by a piece of the True Cross. 

Sala S>. 

Padovanino : Virgin in Glory. 
Bonifazio : Adoration of the Magi. 

Sala lO. Three small rooms. 

B* Andrea : **Daniel before Nebu- 
chadnezzar. 

Titian: Portrait of Priamo da 
Lezze. 



VERSAILLES. 



Sal, a 11. Designs. 

Sala 12. Modern. 

Sal a 13. Saloon of the As- 
sumption. 

Titian : **The Assumption of the 

Virgin. Seep. 30. 
Tintoretto : The Fall. 
Gio. Bellini: Virgin, Child, and 

Saints. 



Basaiti : Calling of Zebedee's Chil- 
dren. 

Sala 141. 

P. Veronese : The Virgin in glory, 
with Pope, Emperor, King, Doge, 
and others. 

Titian: The Entombment. Ti- 
tian's last work ; upon which he 
painted in his 99th year: Com- 
pleted by Palma, Yr. 



Versailles. 

Ten mis. from Paris, by rail from Gare St. Lazare (Rive Droite), or 
from Gare du Mont Parnasse (Rive Gauche) ; hourly either way ; also 
by tramway from the Louvre, hourly ; 1 fr. 

Via Hive Droite (right bank) : two tunnels ; Docks Napoleon ; cross 
the Seine ; Asnieres ; along the Seine ; Courbevoie ; Puteaux ; Su- 
resnes ; St. Cloud ; two tunnels ; Ville d'Avray (Sevres) ; Viroflay ; 
Versailles. 

Via Rive Gauche (left bank) : Ouest Cincture ; Clamart ; Meudon ; 
Belle vue ; Sevres ; Chaville ; Viroflay ; Versailles. 

The Tramway follows the Seine through Passy and Auteuil ; crosses 
the Seine ; Sevres ; Versailles. 

Versailles, which had been a hunting lodge of Louis XIII., was 
laid out by Louis XIV. as a royal summer rendezvous, and embellished 
and maintained at a most enormous expenditure. It remained as the 
royal residence during the reigns of Louis XIV., XV., and XVI., until 
the Revolution. 

Louis Philippe, in 1832, converted the buildings into a Museum of 
Art, to which purpose they have since been principally devoted. 

In 1870, Versailles became the headquarters of the Prussian Army, 
and here King "William was proclaimed Emperor of Germany, Jan. 18, 
1871. Upon the establishment of the Republic, the National Legisla- 
ture held its sessions here, 1871-1880. 

In its regal times Versailles had a population exceeding 200, 000. It 
now numbers about 60,000, and possesses nothing of interest beyond its 
Collections of Art, and the grounds of the palace. 

Approaching the palace from the railway station, the general appear- 
ance is disappointing to the visitor, alike as regards the city, the 
grounds, and the palace itself. 



VERSAILLES. 
Plan of the Palace. 



489 





Centre. 








Cour de 










Marbre. 

Cour 
Royale. 






South Wing. 


1 






2 


North "Wing. 



Cour des Statues. 



1 Cour des Princes. 



2 Cour de la Chapelle. 



Cour des Statues. — Centre : Colossal equestrian statue of Louis XIV. 
On the r. : Bayard, Colbert, Richelieu, Jourdau, Masse'na, Tourville, 
Dugay-Trouin, and Turenne. On the I. : Du Guesclin, Suger, Sully, 
Lannes, Mortier, Suffern, Duquesne, and Conde. 

MUSEE HlSTORIQUE. 

Admission daily, ex. Mon., 12-4. Entrance is made, sometimes, from 
the Cour de la Chapelle (2), the Cour Royale, or the Cour des Princes (1). 

The rooms and apartments occupied by the collection number about 
one hundred and fifty, of which a large section is frequently closed to 
the public temporarily. 

The gallery is so extensive that unless the visitor has several days at 
command, time can be afforded only for the most noted works. As each 
picture has the name of the subject and artist attached, a catalogue is 
necessary only to desiguate the more important works. 

In the description the rooms are numbered, commencing with the 
ground floor, through the S. Wing, the Centre, and the N. Wing ; 
thence on the first floor, in the same order, i.e., S. Wing, Centre, and 
N. Wing. 

When entrance is made from Cour des Princes, the visitor first 
reaches room No. 1, ground floor, and No. 62, first floor; if entering 
from the Cour Royale, No. 69 ; if from the Cour de la Chapelle, No. 
43 ground floor, and No. 7 first floor. 



490 



VERSAILLES. 
S.WING. GROUND FLOOR. 



u 


13 


12 


li 


10 


9 


8 


7 


6 


5 


4 


3 


2 


1 


1 


1 1 


Sculptures. 



The apartments of this wing were once occupied by the grand-chil- 
dren of Louis XIV., with Fenelon, their tutor ; by the Due d'Orleans, 
Due de Chartrcs, Chas. X., Philippe Egalite', Duchess d'Angouleme, 
and Louis XVIII., in their childhood. 

The Galleries of the Empire, comprising rooms 1 to 1 3, are de- 
voted to the campaigns of 1796-1810. 

Vestibule. — Statue of Napoleon, Casts of David, Gerard, Girodet, 
Gros, Guerin, Prud'hon, Percier. 

Room 1. — Centre : 1472. Statue of the boy Mala of Lyons, killed 
while heroically cutting the ferry rope to prevent the royalist troops 
from crossing to attack the city, 1793. Entombed in the Pantheon by 
order of the Convention. 1481. Death of Moreau. 1482. Battle of Ar- 
cole. 1484. Battle of Rivoli. Room 2. — 1493. Peace of Leo ben. 

Room 3. — *1496. Napoleon at the Battle of the Pyramids. 

Room 1. — 1501. Bonaparte entering Antwerp. 

Room 5. — 1505. The Emperor receiving deputations after his coro- 
nation. 

Room 6. — 1509. Capitulation of a Brigade. 1515. Surrender of Ulm. 

Room t» — Busts of the Imperial family. 

Room §. — 1546. Napoleon honoring the wounded Austrians. 

ROOM O. — 1551. Napoleon and the Emp. of Austria, after Austerlitz. 

Room 10. Bed-chamber of the royal children. 1552. The French 
entering Berlin. 

Room 11. — 1555. Interview of Napoleon with the King and Que in 
of Prussia. 

Room 12. — 1558. Marriage of Prince Jerome. 1560. Capitulation 
of Madrid. 

Room 13. — 1561. Napoleon addressing his troops. 1565. Marriage 
of Napoleon with Marie Louise. 1564. Death of Mashal Lannes. 

Room 11. — Salle de Marengo ; Apartment of the Duchess of Bour- 
bon. 1566. Crossing the Alps. 1568. Battle of Marengo. 1567. Cross- 
ing the Alps. Entering the Hall op Sculptures, at the r. is a stair- 
way leading to 4 rooms of ^Marine Views, below. 

Gallery of Sculptures. — Eminent men of the Empire and Republic, 
from 1796-1814. Hoche, Leclerc (as Achilles), Napoleon, Cuvier, 
Champollion. 



VERSAILLES. 



491 



On the r. of this Hall is the Chamber of Deputies, occupied by the 
Government, 1872-1880. 



CENTRE. 



GROUND FLOOR. 





23 


24 


25 




31 




36 


37 


38 












22 




26 


1 1 

30 & 

L ' i 






39 




21 






27 

28 
29 




33 






40 




20 


41 




19 


34 
35 


45 


44 


42 




18 


43 




17 




















I 15 


16 



Room 15. — Entrance from Cour des Princes. 

Room 16. — Busts : Voltaire, Diderot, Rousseau. 

Room 17.— Amireaux (Admirals) from 1270-1840. 

Rooms 18-26 were the apartments of the children of Louis XIV. 

Room 18. — Conne'tables. Bed-chamber of the Duke of Berry. 

Booms 19-25 : Marechaux (Marshals), over 300. 

Room 19. — Study of the Dauphiness, time of Louis XV. 

Room 2©. — Bed-chamber of the Dauphiness, time of Louis XV. 

Room 21. — Bed-chamber of the Dauphin, time of Louis XIV. 

Room 22. — Study of the Dauphin, son of Louis XV. 

Room 23. — Study of the Dauphin, under Louis XIV. ; Marshal 
Villeroy arrested here, 1722. ij 

Room 26. — Salle des Bois, 67 portraits from Clovis to Napoleon IIL £ 
Many of the foregoing portraits, especially the earlier ones, are alto- 
gether imaginative. Bronze statue of Napoleon. Under Louis it was 
the apartment of the Great Master of the Wardrobe. 

Room 27. — Occupied by the body guard of the Dauphin under 
Louis XV. and XVI. 

Rooms 28 and 29. — Salles des Residences Royales. 

Room SO.— Vestibule of Louis XIII. 

Room 31.— Gallery of Louis XIII. *Battle of Rocroy. Statues of 
Royal families. 



492 



VERSAILLES. 



Rooms 33-35.— Plans of Battlefields. 

Rooms 36-41. — Salles des Marechaux. Apartments of Mme. de 
Montespan. 
Room 41. — Bed-chamber of Mme. de Pompadour. 
Rooms 43, 43. — Apartments of Mme. de Pompadour. 







N.WING. 




GROUNC 


t FLOOR. 






1 

Vestibule 


46 


47 


48 


49 


50 


51 


52 


52 


54 


55 


56 








Sculptures. 






Chapel. 




61 
60 




57 

58 




Theatre. 


Salles des 




59 




■ 


Croisades. 







Entrance from the Cour de la Chapelle. 

Gallery of the History of France, from Charlemagne to Louis XV. 

Rooms 46-56 devoted to Charlemagne and St. Louis. 

The Theatre was built by Louis XV. for Mme. de Pompadour ; 
inaugurated on the marriage of Louis XVI. and Marie Antoinette, 1777. 
Twelve years later, Louis XVI. here gave a fete to the royal guards, 
during which the health of the royal family was drank with drawn 
swords, and the toast of Prance was received in silence. Three days 
after, Louis XVI. and Marie Antoinette were compelled by the mob to 
leave Versailles for Paris. They never returned, nor has Versailles 
sines been a royal residence. From 1872-1880 this room was occupied 
as the Senate Chamber. 

**Salles des Croisades : Rooms 57-61. 

*Room 57. — Battles of Ascalon and *Beyrout. Coronation of 
Baldwin. 

*Room 5®. — Louis IX. receiving Emissaries. Capture of Jerusa- 
lem. 

*Room 59. — Battles of Ptolemais, Rhodes, Malta, Toulouse. On 
the pillars, the armorial bearings of Fred. Barbarossa and Richard 
Coeur de Lion. 

Room GO. — St. Bernard preaching the 2d Crusade ; Ascalon. 

*Room Gl. — Crusaders under Godfrey crossing the Bosphorus ; An- 
tioch ; Taking Jerusalem. 



VERSAILLES. 493 

Fikst Floor. 
S.WING. FIRST ETAGE. 











— — 1 


63 


62 


* * Gallery of Battles. 


62 








64 


Sculptures. 


64 


i c 



a, Entrance from the Cour des Princes. 65, Door to the centre. 

Apartments of the Due de Berri and the Prince and Princess of 
Conti. 

Room 62.— **Oallery of Battles, 393 ft. in length. Busts of 80 
eminent generals who fell in battle, with their names inscribed, near 
the windows. 

Boom 63. — Salle O/1830 ; devoted to the history of the Revolution 
of 1830, in which are portraits of many celebrities of that time. At the 
farther end is the entrance to Room 641. — Hall of Sculptures, contain- 
ing 80 works of Pilon, Coysevox, Coustou, and Houdon. Near the en- 
trance, at the r. , is a stairway leading to the 2d floor. 

65. — Doorway leading to the central building. 

Room 66. — Campaigns of 1792. Persons represented with the title 
and dress they then wore. Centre: Model of the Column of Bou- 
logne. 2336. Battle of Jemmapes. 2335. Valmy. [Door at the rear 
leads to a suit of 7 water-color rooms. Sometimes closed. ] 

Room 67.— Campaigns of 1777, 1792, and 1793. 

Room 68. — Grand Cabinet of Mme. de Maintenon. Campaigns of 
1793-94. Battle of Fleurus. 2305. Taking of the Camp of Perulle. 
[Door at the rear leads to 3 small rooms of the Campaigns of 1794-90. 
Entrance also from a. Sometimes closed.] 

Room 69. — Salle du Sacre : Ancient Chapel of Versailles. **2217. 
Coronation of Josephine, for which the artist received $ 20,000. *2278. 
Napoleon distributing Eagles. *2276. Battle of Aboukir. Centre: 
*Statue, Last Moments of Napoleon. 

Room 70. — Queen's Guard-room: Statue of Louis XV. 2166. 
The Dauphin and his Family. 2117. Marie Adelaide of Savoy. "On 
October 6. 1789, this room was invaded by the mob, armed with guns, 
sabres, and pikes, shouting ' Death to the queen. ' Varicour, one of her 
guards, defended the door of the queen's apartment with his musket. 
He received a sabre blow on his hand ; the mob disarmed him, dragged 
him to the Place d'Armes, and there decapitated him. It was in vain 
that a second guard, Durepaire, replaced him. A third, Miomandre de 
Sainte-Marie, opened the door, shouting to the ladies in waiting, * Save 



494 



VERSAILLES. 



the queen. ' Closing the door he parried a blow from a pike, but soon 
fell a victim to his devotion, which allowed time for the queen to flee 
to the apartments of the king, and for the National Guard to drive the 
mob from the palace. " 

Room yi. — Antechamber of the Queen: audience-room of the 
queens of Louis XV. and XVI. 

"lb was here the great dinner service was laid when the king and queen dined 
in public. On this occasion the ushers admitted any well-dressed person. This 
exhibition, a fatiguing one for the princes, was the delight of the country people." 
— Mme. Campan. 

2109. Louis XIV. 2108. Philip of Anjou, King of Spain. 



CENTRE. 



FIRST ETAGE. 



74 



73 



72 



71 



70 



* 75 Galerie des Glaces. 



75 



83 



76 



•*79 



80 



# 69 



77 



78 



Cour de 
Marbre. 



81 



82 



67 68 



65 



66 



Cour Royale . 



84 



85 



86 

87 



88 



89 



A, Entrance from Cour Koyale. 65, Entrance from S. Wing. 89, Entrance 

from N. Wing. 



Room 72. — Salon de la Reine : Drawing-room of Marie Antoinette. 

Room 73. — Bed-chamber of Marie Theresa, Marie LeczinsJca, and 
Marie Antoinette, queens of Louis XIV., XV., and XVI. Queen M. 
Theresa and M. Leczinski died, and Louis XV. and Philip V. of 
Spain were born in this room. When the palace was attacked by the 
mob, in 1789, Marie Antoinette was in this chamber, and hearing the 
confusion in the guard-room, and the cry, "Save the queen!" escaped 
through the door at the rear to the apartments of the king. 2095. Mar- 
riage of Louis and Marie- Adelaide of Savoy. *2096. Marie Leczinski. 
*2097. Marie Antoinette. 

Room 74L. — Salon de la Paix, The Qucerfs Card-room, intended 



VERSAILLES. 495 

as a counterpart to the Salon de la Guerre, at the opposite end of great 
hall. 6. Porphyry busts. *View of the grounds. 

Room 75. — Galerie des Glaces, 240 feet in length, decorated by le 
Brun, Coysevox, and van der Meulen, with scenes from the life of Louis 
XIV., named from the mirrors which cover the wall facing the win- 
dows. *Fine views of the park and gardens. Upon the occasion of the 
marriage of the Due de Bourgogne, in the time of Louis XIV., this 
salon was illuminated with 4,000 candles, and the ladies were robed 
in black velvet relieved with diamonds. The last grand ball given here 
by the French sovereigns, was opened by Napoleon and Queen Victoria, 
in 1855. In 1871, King "Wm. of Prussia was here proclaimed Emperor 
of Germany. 

Room 7G. — Salle de V (Ell de Boeuf (bull's-eye), named from its 
oval window; waiting-room of the courtiers of Louis XIV. Bronze 
statue of Louis XIV. 

Room 77. — Dini?ig-room. 

Room 78. — Salle des Gardes,- ceiling of mottled marble color. 

Room 7S). — Bed-chamber of Louis XIV., remaining nearly as when 
occupied by him. The bed is that upon which he died. Upon that oc- 
casion the first chamberlain announced the event from the balcony by 
exclaiming, " Le roi est mort," breaking his wand of office ; and imme- 
diately takinj another, he exclaimed "Vive le roi." On the 1. of the 
bed is a wax portrait of the king. It was from the balcony of this 
room that Queen Marie Antoinette was compelled to present herself 
and the Dauphin, with Lafayette, to the mob, 1789. 

Room 80. — Salle du Cornell. Council Chamber of Louis XIV. 
and likewise of Louis XV., and where Mme. du Berri, seated on the 
arm of his chair during council, threw a packet of unopened letters 
into the fire ; and where Louis received Mirabeau's audacious reply to 
the king's message, dissolving the Assembly: " Go tell your master we 
are here by the will of the people, and we will go only by the force of 
bayonets." Fanciful clock, with Cupids striking the hours, cocks crow- 
ing, etc., made 1706. 

Room 81. — Bed-chamber of Louis XV, who died here, 1774. 

Room 82. — Apartment of Louis XIV. ; Council Chamber of 
Louis XV. 

Room 83. — Salon de la Guerre, with pictures of the campaigns of 
Louis XIV. Six porphyry busts. *View of the grounds. The deco- 
rations of this room and the Grand Gallery, representing Germany 
kneeling, Holland thunderstruck, and Spain terrified, "had no small 
share in irritating and leaguing all Europe against Louis XIV." 

Room 841. — Solon- cTApottdh, formerly Salle du Trone, where stood 
the silver throne of Louis XIV., which was sold, 1688, to raise money 



496 



VERSAILLES. 



after his disastrous campaigns. The three gilt rings of the canopy are 
still seen in the cornice, opp. the windows. Reception-room of foreign 
ambassadors in the time of Louis XIV. *Ceiling paintings. 

Room 85. — Salon de Mercure. State bedroom, where the body of 
Louis XIV. lay in state eight days. 2074. Founding the Academy of 
Sciences. 

Room 8G. — Salon cle Mars. Gaming saloon, where Louis XIV. and 
queen "condescended to play with members of the Assembly. 1 ' 2051. 
Louis XIV. at the age of ten (over the mantel). 

Room 87. — Salon de Diane: Billiard-room of Louis XIV. 2041. 
Portraits of Louis XIV. and queen. 2042. Queen of Louis XIV. 

Room 88. — Salon de Venus, where a collation was spread on recep- 
tion days, and " each guest helped himself as he pleased." 

Room 89. — Salon d> Abondance. Siege of Fribourg, 1677. 

Room 9©. — Salon d^Hercule. The Passage of the Rhine ; Louis 
XIV. ; Pulpits of Bossuet and Massillon. Ceiling : Apotheosis of Her- 
cules, le Mbyen, 1736 ; one of the largest paintings in oil ever executed ; 
61 by 54 feet. 

91. — Vestibule. 

Gallerie de l'Histoire de France — Roo?ns 93 to 103. 

Room 93. — Room of the Duke of Berri. 



N.WING. 



FIRST ETAGE. 



1 

90 


91 


92 


93 


94 


95 


96 


97 


98 


99 


100 


101 


102 






Sculptures. 


Theatre. 




Chapel. 




109 
108 




103 
104 






107 

Salle 


d 


106 

e 




105 

Constantine 



103. — Staircase: Statue of Louis XIV., Houdon. 

Galerie des Sculptures. —80 statues. *Joan of Arc, by Marie 
d* Orleans; *Duc d' Orleans, Pradier ; Marechal Bugeaud. 

**Salle de Constantine — Rooms 103 to 109. 

*Room 103.— Room of the Duke of St. Simon. 1948. Battle of 
Ivry. 



VIENNA, THE BELVEDERE GALLERY. 497 

*Room 1©4.— 1953. National Assembly taking the Oath, 1789. 
*1952. Napoleon dissolving the Council. 

"Room 105. — Campaigns of Italy and the Crimea. 

**Room 106. — Fourteen pictures by II Vcrnet. 

**Room 107.— Taking of the Smalah of Abd-el-Kader (1843), 70 ft. 
by 16. 

Room 1©8. — Crimean Campaigns. 

Room lOO. — Campaigns of Italy and the Crimea. 

Second Etage comprises a large number of rooms, filled principally 
with portraits. 

The Gardens in the rear of the palace are open to the public during 
the day. They remain in nearly the same stiff architectural style as 
when laid out by Le Notre. 

To the I. is the Parterre du Midi, with greenhouses, an orangerie of 
1,200 trees, Piece d'Eau des Suisses, and a vegetable garden of 25 acres. 

In front is the Parterre d'Eau, beyond which is the AUe'e de Tapis 
Vert, a broad plat of grass extending to the Grand Canal, which 
stretches a mile in a direct line to the west. On the Parterre, above 
the steps, are the oval fountains; 1., Point du Jour; r., Diana. Below 
the steps is the *Basin de Latone, with statues of Latona, Apollo, and 
Diana, and frogs and tortoises spouting water. Adjacent are numerous 
statues, the finest in the grounds. At the farther end of the Tapis 
Vert, near the Grand Canal, is the "^Fountain of Apollo, with statues of 
Apollo, nymphs, tritons, and dolphins. On either side are numerous 
smaller fountains, with groups of statuary. 

On the r. is the Parterre du Nord, in which is the Allee d'Eau, with 
a cascade of 22 sections, in which are children pouring water from gob- 
lets. At the foot of the Allee is the * Basin de Neptune, the largest in 
the grounds, with 5 bronze groups. 

The Fountains Play (at a cost of about $2,000 each time), during the 
summer, on Sunday afternoons from 4 to 5 o'clock ; the smaller ones 
usually about once a month, the larger ones occasionally, of which due 
announcement is made in the daily papers. The various fountains 
play in succession, those in the Alice d'Eau and the Basin de Neptune 
being the last. Follow the crowd. Railway trains from Paris on these 
occasions every 5 or 10 minutes. 

The Grand and the Petit Trianons. See Trianon, p. 382. 

Vienna. — The Belvedere Gallery. 

A large and valuable collection of paintings, principally by the old 
masters. Open daily, ex. Mon. , 10-4 ; Sun. , 10-1 ; fee. 



498 



VIENNA, THE BELVEDERE GALLERY. 



First Floor. 
Italian School. On the right. 

Room 1. To the right. 

9. Tamar and Judah, Bassano. 

10. Gaston de Foix, Palma, Vec. 
12. The Good Samaritan, Bassano. 
*6. Allegory, Titian. 

22, 44. Portraits, Tintoretto. 

23. Annunciation, P. Veronese. 
34. Judith, P. Veronese. 

*16. Portrait, 29. Venetian Am- 
bassador. *19. The Samaritan 
Woman, Tintoretto. 

47. Adoration, Schiavone. 

53. Bearing the Cross, Tintoretto. 

*50. Virgin and Sts. , P. Veronese. 

*52. Christ in the House of Jairus, 
P. Veronese. 

*48. Venetian Lady, Titian. 

Room 2. To the right. 

*2. The Visitation. 6. Virgin and 
Saints. 9. Venetian Lady. #11, 
*12. Portraits. 13. Lucretia, 
Palma, Vec. 

*7. St. Justinia, Martyr, Mbretto. 

*8. Madonna and Sts., Bonifazio. 

14. A Girl, Palma, Vec. 

£7. Giacomo Strada, Titian. 

-26. Judith, Padovanino. 

*39. Madonna and Saints. *17. 
Diana and Callisto. *40. Por- 
trait. 29. Isabella d'Este. *32. 
Entombment. *19. Ecce Homo. 
35. La Bella di Tiziano. *36. 
Danae' ; all by Titian. 

63. Madonna and Saints, and 

43. A Venus, Gio. Bellini. 

58. Altar-piece, Vivarini. [Basaiti. 
62. Calling of James and John, 

59. Allegorical Portrait, Titian. 
56. John Baptist, Bonifazio. 

Room 3. To the right. 
1. Death of Joseph, Maratta. 
9. Madonna, Sassoferrato. 



*12. Madonna and Saints, Peru- 
1 0. Market Scene, Feti. [gino. 

31. Madonna enthroned, Perugino. 

33. Hagar returning, Cortona. 

19. Baptism of Christ, Perugino. 
27. "Madonna of the Rosary," 

Caravaggio. [phael. 

**55. "Madonna al Verde," Pa- 
See Madonnas, No. 51, p. 224. 

49. Venus, Albani. 

56, 57. Battle-pieces, Sal. Rosa. 

*51. St. Margaret and the Dragon, 
Romano. [Francis. 

Circular Room : Bust of Emp. 

Room A, To the right. 
3. Madonna, del Sarto. 
9. Madon., " La Zingarella," Cor- 
12. Herodias, Luini. [rcggio. 

18. Holy Family, Sodoma. 
*23. Pieta, del Sarto ? lAllori. 
*20. Judith and Holofernes, C. 

35. Magdalen, Furini. 

*29. Presentation, Bartolommeo. 

36. Portrait, Bigio ? [zoli. 
'-43. Madonna and Saints, Goz- 

Room 5. To the right. 

1. Ecce Homo, Ouido. 
3. Madonna, Cignani. 

5. Cimon and Daughter, Cignani. 
*17. St. Francis, Ag. Carracci. 

20. St. Francis, Lud. Carracci. 
25. Madonna, Ouido. 

18. Madonna and Saints, Francia ? 

19. John Bap., Guercino. 
31. Ecce Homo, Guido. 

34. Martha and Mary, Sirani. 

Room 6. To the right. 
*10. Portrait, Correggio. [racci. 
*12. Samaritan Woman, An. Car- 

2. Venus and Cupid, L. Carracci. 
*22. Portrait, Parmegiano. 
**19. Jupiter and Io, Correggio. 

See Io, p. 174. 

21. Ganymede, Correggio. 



VIENNA, THE BELVEDERE GALLERY. 



499 



25. Ecce Homo, Correggio. 

*28. Fr. de' Medici, Bombelli. 

42-45, 47-50. Studies for the '•» Tri- 
umph of Julius Caesar, "Jfan- 
tegna. 

Room 7. To the right. 

17. St. Sebastian, Correggio. 

*12. Venetian Girl, Palma, Vec. 

*ia Inf. Marg. Teresa. *14. His 
own Family. 15. Inf. Maria 
Teresa. *6. Bait. Carlos. 8. 
Philip IV. , Spain ; Velasquez. 

7. Adoration, Signorelli. 

2, 3. Portraits, Tintoretto. 

24, 26. Saints, Bonifazio. 

25. Christ adored, Carpaccio. 
38. A Warrior, Sal. Rosa. 
*40. An Idiot, Velasquez. 

*44. Michael and Fallen Angels, 

Giordano. 

49. Venetian Lady, Raima, Vec. 

*47. Inf. Maria Teresa, Velasquez. 

Netherlandish School. 

Room 1. To the left. 

2. Adam, Eve, and Abel, Cham- 

paigne. 
9. At a Window, Hoogstraeten. 
11. Old Man, Flinck. 
14, 15. Fish, Es. 
27. Boar-hunt, Snyders. 
20. Composition, Fyt. 
*21. Birds, Hondecoeter. 

37, 53. Sea pieces, Bakhuisen. 

38. Portrait. 28. St. Paul. 40. 
Portrait. *42. Himself at 45. 
45. Himself in Age ; Rembrandt. 

Room 2. Landscapes. 
9, 16. Neer. *29, 36. J. Ruisdael. 
5, 8. Moucheron. 55. Wynants. 
Room 3. Tc the left. 
*2. Madonna and Saints. 45. Por- 
traits. 8. Virgin. *10. Young 
Man in Armor. 18. Venus and 
Vulcan. 24. Countess von Solms. 
25. John dc Montfort. 31. 



Christ Mocked. 32. Samson 
and Delilah. 23. Holy Family. 
34. Magdalen. 28. Jesuit Scri- 
bani ; all by van Dyck. 

35. Dead Christ, Rubens. 
Room A. To the left. 

*1. Loyola healing. 2. Assump- 
tion. *3. Xavier working mira- 
cles. 4, 5, 6. Figures. 7. Boar- 
hunt. *8. St. Ambrose resist- 
ing Theodosius the Gt. *H>. 
Four Quarters of the Globe. 1 1 . 
His own Portrait at 60. 13. 
Pieta. 16. Cimon and Iphigenia. 
22. Wife of Philip IV. of Spain ; 
all by Rubens. 
The White Cabinet contains 'i'J 

flower pieces. 

Green Cabinet. 
1. Palace and Garden, van Deelen. 
9. The Lace Maker, Jletsu. 
*14. A Shop, Mieris. 
*18. The Doctor, Mieris. 
16. Young Woman, Terburg? 
20, 52. Old Woman, Dow. 
*11. Candle-light, Schalken. 
*103-*4. Portraits, Denner. 
68. Cathedral Interior, Neefs. 
97. Landscape, Wouverman. 
87. Landscape, van de Velde. 
92. Landscape, Berchem. 

Room 5. 

1. Retablo, 2 wings. 3. Children. 
7. Feast of Venus. 13. Land- 
scape. 11. Helen Fourment. 21. 
Holy Family ; all by Rubens. 

25^ Madonna and Sts. , Balcn. 

Room 6. To the left. 
3. Peasant Wedding. 5. Sacrifice 
of Isaac. 7. Brigands pillaging. 
10. Butcher Shop. 15. Interior. 
*16. Kermess. 34. A Gallery of 
Pictures. 37. Peasants dancing ; 
all by Teniers, Yr. 



500 



VIENNA, LIECHTENSTEIN GALLERY. 



24. Village Fete, and 28. Soldiers 
pillaging, Ryckaert. 

46. Candle-light, Honthorst. 

*51. Fete at Brussels, Teniers, Yr. 

Room 7. To the left. 
*27. Dutch Feast, Jordaens. 
32. Interior, Steen, 

47. Mythological, Jordaens. 

56. Four Elements, Brueghel and 
Rottenhammer. 

II. Floor. Early German and 
Modem. 
Room 1. To the left. 
1. Madonna and Saints, Afutiua. 
*5. Max. I., Diirer. 
*15. Persecution, Diirer. 
*27. Portrait, Holbein. 
23, 28. Madonnas, Diirer. 
2 3. Holy Family, Schongauer. 
*18. Trinity, iJwrer. 
58. Triptych, Penez. 
47. Altar-piece, German School. 

61. Jane Seymour, Holbein. 

62. John Chambers, Holbein. 
50. Life of Christ, Burgkmair. 
71. Christ and Saints, Granach. 
78. Head of the Baptist, Amberger. 
67, 68. Portraits, Holbein? 

*81. Triptych, Weydterc. 
82. Diptych, Mimling. 
83-85. Portraits, Holbein. 
88, 94. Portraits, Amberger. 
Room 3. To Me Ze/2. 
5.. Triptych, by the Master of the 

Death of the Virgin. 
6. Madonna, ^oes. 
12. Descent, Memling. 



*18. Madonna, Weydin? 

22. St. Catherine, Wcyden. 
13. Leeuw, i><m Eyck. 

9. Madonna, Mabuse. 
24. Landscape, Savery. 
*42. Jodocus Vydts, #<m Eyck. 
43. Portrait, Pourbus, Yr. 

58. Pieta, Haarlem. 

59. Panel, Orley. 

66, 67. Portraits, Schoorl. 

Room 3. 2b Me fe/& 
13, 14, 19, 28. Pourbus, Eld. 

23, 24, 30. Pourbus, Yr. 
20, 29. Portraits, Jforo. 

16, 17. Adam and Eve, Floris. 
34. Croesus and Solon, Franckcn. 
61. Landscape, Brueghel. 
65. Italian Fair, a/^er Gallot. 

Room 41. Pictures unimportant. 
* View of the City and environs. 
Modern Works. 

The four following rooms contain 
modern works. Among the most 
striking are : The Glacier of the 
Jungfrau ; The Konigssee ; Ro- 
meo and Juliet ; Kriemhild and 
Hagen beside the Corpse of 
Siegfried ; Lake Nemi ; Woman 
in an arm-chair ; Christ calming 
the Storm ; Peasants reposing ; 
Forest Landscape ; Capture of 
the consort of King Manfred. 

Ground Floor. 
Hall. Bronze bust of Francis I. 
and of Maria Theresa. Several 
rooms of inferior pictures ; Ita- 
lian on r.: Dutch on 1. 



New buildings are now being erected on Ring Strasse, nearly opposite 
the Imperial Palace, to which this and other art collections will be re- 
moved. When arranged, these will constitute one of the most complete 
and extensive collections of art extant. 



PART III.-ROTJTES. 
VARIOUS IMPORTANT ITEMS. 



Custom -Ho uses. — At customs examinations the traveller 
should have his keys ready, open his trunks, and leave the rest 
to the officers, and especially, make no ill comments or sugges- 
tions, however needless or rigid the examination. 

Railways. — Tickets are not, as in America, good for any 
train and any time. The bureau, or office, is open 15 minutes 
prior to the departure of each train, when tickets can be pur- 
chased for that train. Luggage cannot be booked without pre- 
senting the ticket, and is not received within 5 min. of the time 
of departure ; all of which necessitates expedition. The traveller 
should see that his luggage is correctly labelled. The laws are 
stringent in regard to entering or leaving a car in motion, and to 
walking on or across the track ; and it should never be attempted. 

If temporarily leaving the car, a package should be placed in 
the seat ; luggage in the rack does not retain the place, nor the 
statement that it is engaged. It must be occupied by the travel- 
ler himself or his effects. The cars are not supplied with water, 
and the water at the stations should be taken with caution. To 
abate thirst, fruit is preferable. The railway restaurants, or 
buffets, are usually so unsatisfactory, that, for long rides, it is 
preferable to provide one's self with lunch. 

Sleeping-car berths are usually obtainable only by those holding 
fir-t-class tickets. 

Compartments for ladies only, marked " Dames Seules" "Fur 
Damen," may be found on all trains. Smoking is allowed in all 
compartments except those marked " smoking forbidden." 

There are several grades of trains, with corresponding rates of 
speed and price : a Fast Express, at high speed and cost ; on the 
Continent, usually 1st class only, and in some localities only at 
night ; a Day Express, at less speed and price, 1st and 2d class ; 
a Fast Omnibus, and a Slow Omnibus train, at about half the price 
and twice the time. 



502 VARIOUS IMPORTANT ITEMS. 

Bate of Fares : 1st class, in England about 4 cts. per mile ; on 
the Continent, 3-£ ; 2d class, one-fourth less. 

No luggage is carried free in Belgium, Holland, Switzerland, or 
Italy. Luggage is surrendered only upon production of the lug- 
gage-ticket ; and when once booked cannot be recovered, even 
with the luggage-ticket, until it reaches its destination. If lug- 
gage is lost, indemnity can be claimed. As a rule, the traveller 
should keep his luggage with him. If sent beyond the frontier, 
unless the keys are forwarded with the luggage, it is liable to de- 
tention at the boundary for customs examination. In forwarding 
by express, bear in mind that the Grande Vitesse is moderately 
expeditious and costly ; that the Petite Vitesse is cheap, but as- 
tonishingly slow, requiring 7 full days from London to Paris, and 
10 from Paris to Geneva, and corresponding time elsewhere. 

In forwarding, always direct in care of the hotel or house where 
it is to be delivered, giving the street and number, and securely 
affixing the label. 

Hotels. — The traveller should decide upon his hotel before 
the termination of his railway journey, and upon alighting, call a 
cabman, show him his luggage, and direct him to drive to the 
hotel as if he were entirely familiar with the place. 

It is advisable, under all circumstances, to agree upon the 
price of a room before its occupancy, and to call for one's bill, 
and insist upon its presentation, at least six hours before depar- 
ture. If leaving in the morning, it should be adjusted the even- 
ing prior. In England, light and toilet soap are included in the 
charge for room. On the Continent, both these items are extras, 
if furnished. Wine is frequently included in the dinner at pen- 
sions, rarely, however, at hotels. All extras are usually at exor- 
bitant charges. 

In European hotels the rooms upon the lower floors are arranged 
in suites of a parlor with one or two bedrooms attached. Sleep- 
ing rooms without parlors are upon the upper floors. Of these, 
the most commodious are intended for two occupants — in Great 
Britain with one very broad bed; on the Continent, with two 
single beds. The rooms intended for one person only, are less 
desirable, both as to size and location. Upon leaving the room 
the door should be locked and the key placed upon the "key 
board," as in that case, and in that only, the proprietor becomes 



VARIOUS IMPORTANT ITEMS. 503 

responsible for the safety of the room. On the Continent it is 
the custom to be particularly prompt at table d'hote. For list of 
hotels, see Hotels. 

Minor Finances. — Be wary of hotel extras. In the shops 
never pay for goods until delivered. Never order goods to be 
forwarded after having left, unless fully knowing the house and 
the goods. 

In the Galleries and other places of public resort, it is ob- 
servable that visitors seldom indulge in audible conversation or 
reading of the Guide Book, or in decisive criticism. Nor is it 
judicious to comment upon foreign life and manners, under the 
supposition that the foreigners present are ignorant of the Eng- 
lish language. Care has also to be exercised against that undue 
loudness of voice, which continued riding in cars unavoidably in- 
duces. It will be noticed that cultured Europeans usually con- 
verse in public places in a decided undertone. 

The Concierge. — At the entrance of European hotels will 
always be found a Concierge, whose business it is to give infor- 
mation to guests, receive packages, deliver messages, exchange 
money, furnish stamps, etc, etc., whose compensation is derived 
solely from the payment received from these small but in valuable 
services. It is usual to give a sou or two for each of these little 
attentions, and a half-franc for an errand on the street. It is en- 
tirely proper to decline these services if one does not wish to pay 
for them. 

Pour bo ire. — This term designates the wages of certain 
classes of servants on the Continent, who receive no pay other 
than the voluntary contributions of those they serve. The usual 
rates are, to drivers, 4 sous for the course or per hour ; to waiters 
in cafes or restaurants, 2 sous each person. But, besides these, 
will be found everywhere, persons desirous of rendering attention. 
A stranger is largely dependent upon these minor services. A 
man is ready to take packages whilst one steps into the car or 
cab, or to hold an umbrella if it rains, to show the way through 
a crooked street or to a building, to get some change and see that 
it is correct. At the theatres, women ushers will be found ready 
to open the doors, point out the seats, take the shawls, over- 
coats, etc., and bring a small footstool for the lady. All these 



504 VARIOUS IMPORTANT ITEMS. 

persons expect a penny or two for their services. It is the recog« 
nized courtesy of the country to promptly reward these atten- 
tions if accepted or permitted. 

Brevities. — The water will usually be found safe for drinking. 
In some localities, however, tea, coffee, wine, or beer is preferable. 
The traveler should have a small quantity of the medicines he is ac- 
customed to use, brandy included, even though he never uses it ; it 
will obviate borrowing. Outside pockets should be dispensed with. 

Do not attempt too much. Tired seeing is of no worth. Avoid 
fatigue. Better lose a part of to-day than the whole of to-mor- 
row. Be not over enthusiastic in letter-writing ; after a day of 
sight-seeing, the night is best spent in sleep. In travel, u an 
ounce of prevention is worth a pound of cure." 

Carriages. — Throughout Great Britain the tariff of fares is 
usually posted in every public cab or carriage. On the Continent, 
drivers are usually required to have a printed tariff of the legal 
fares, and to produce it whenever demanded. In England the 
driver is entitled to exact tariff rates, and no more ; in France 
and Italy, and generally on the Continent, to a gratuity of 2 or 3 
sous each person. This additional payment, called pourboire, 
should never be omitted, as it is the driver's legal right, and, in 
some instances, his only compensation. 

Before entering a carriage, the traveller should distinctly state 
wnether he wishes it by the course or the Jiour. He should also 
have the requisite change ready, as the driver is not required to 
furnish change, and if detained for that purpose, he is, in Lon- 
don and in many other localities, entitled to fifteen minutes extra. 

By the course means to a specified place without stopping, 
the driver having the right to select his own route. If stopped 
on the way, the ride then counts two courses and double charges. 

If proposing to go outside the walls or the city limits, a dis- 
tinct bargain should be made, inasmuch as the tariff rates prevail 
only within the city, and, onee outside, the traveller is left with- 
out protection against excessive charges. Also, for the same 
reasons, caution should be taken that in ordinary rides the 
driver should not be allowed to pass beyond the gates. 

Night rates, i.e., after 10 or 11 o'clock, are about one-fourth 
higher than during the day. 



VARIOUS IMPORTANT ITEMS. 505 

Carriages ordered from the stable are much dearer than when 
taken from the public stand. 

Always note the number of the carriage as a means of protec- 
tion in case of any loss or irregularity. 

The usual rates will be found to be exceedingly moderate, being 
about 25 to 40 cts. for one or two persons, for not exceeding two 
miles ; and not more than 50 cts. for four persons. 

Over-charging sometimes occurs, but less frequently than 
Americans have been led to believe. Much of the so-called over- 
charging arises from the demand for pourboire, which the Amer- 
ican has omitted either from forgetfulness, or from not knowing 
that paying tariff rates does not meet the legitimate charges. 

In case of disagreement, in England, refer to a policeman ; on 
the Continent, to the landlord ; and in either case have no words 
or dispute with the driver. 

If wishing a stylish turnout for Kyde Park, the Bois de Bou- 
logne, or similar fashionable locality, inquire the cost before 
ordering a carriage in livery. 

In the following schedule the quotations given are for the day 
fares for one-horse vehicles, within the city limits, taken from the 
public stands. Conveyances with two horses are about one half, 
or more, additional. One-horse carriages are designated, in Lon- 
don, cabs ("four-wheelers "), and hansoms ; in Germany and Rus- 
sia, Droschke (dros'-ky) ; Belgium, vigilante ; France, voiture ; 
Italy, carrozza,ox botti. 

(1-2), (B-4), indicate the number of persons; i, £, h., parts 
of the hour. The price is given in the money of the country. 
C, course; h., hour. The tariff is often intricate. 

Carriage Tariff. 

Amsterdam. --C. (1-3) 80c; 1 h., 1.20 g. Stations to Dam (1-3) 65c; (4) 80c 

Antwerp.— C. (1-4) 1.50 fr. ; 1 h. (1-4) 1.50 fr. ; extra half hour, 75c 

Berlin.— (1-2) % h., 60 pf . ; % h. , 1 mk. ; (3-4) 80 pf . First class carriage 

about double. 
Bologna.— C. (1-2) 75c : 1 h., 1.50 fr. ; extra h., 1 fr. Station to hotel 1 fr. 
Brussels.— C. (1-2) for first y 2 h., 1 fr. ; each add. M h., 40c Fiacre, 2 horses, 

y z h., 2 frs. 
Cologne.— C. (1) 60 pf. ; (2) 75 pf. ; (3) 1 mk. ; (4) 1.25 mk. : X h - U" 2 ) * mk - ! 

(3-4) \% mks. 
Copenhagen. — C. (1-2) 1 mk. Cabs for 2 persons only. Fiacres dearer. 
Dresden.— C. (1, 2, 3, 4) 50, 60, 80, 90 pf. ; y % h., 60, 70, 90, 1 mk. Two horses, 

h., 4 mks. 



506 VARIOUS IMPORTANT ITEMS. 

Dublin.— C. (1-2) Cxi., (3-4) 1 sh. : 1 h. (1-2) \% sh.. (3-4) 2 sh. ; extra >< h., 
6d., and 1 sh. 

Edinburgh.— C. (1-4) 1 sh. each, 1 ml. ; fid. extra % ml. ; 1 h., 2 sh. ; extra % 
h., 6d. 

Florence..— C. (1-1) 80c; % h., 1.30 fr.; extra % h., 70c Station to hotel, 1 fr. 

Frankfort. - C. (1-2) 50 pf. ; (3-4) 70 pf.; 1 h. (1-2) 1.70 mk., (3-4) 2.10 mk. Sta., 
to hotel, 90 pf. 

Geneva.— C. (1-2) 1.50 fr. ; (3-4) 2.50 fr. ; 1 h. (1-4), 2.50 fr. Sta. to hotel, 30c. 
by omnibus. 

Genoa.— C. (1-2) 1 fr.; 1 h., 1.50 fr. ; extra % h., 75c. 

Glasgow.— C. (1-3) 1 ml., 1 sh.; extra % ml., 6d.; 1 h., 2 sh. ; extra % ml., 1 sh. 

Hague.— Sta. to hotel (1-2) 60c, (3-4) 85c ; 1 h., 1 g. To Scheveningen (1-4) 2 g. 

Hamburg.— C. (1-2) 80 pf. ; (3-4) 1 mk. ; 1 h., 1.50 mk. Tariff complicated. 

Heidelberg.— C. (1, 2, 3, 4) 50, 90,1.20,1.50 mk.; 1 h. (1-4) 2.60 mks. To castle, 3 mks. 

Leipzic— C. (1, 2, 3, 4) 50, 60, 80, 1 mk.; 1 h., 1, 1.25, 1.75, 2 mks. Sfca. to hotel, 
75 pf. 

Liverpool. — C. (1-4) 1 ml. or less, 1 sh. ; extra % ml., 6d. Two-wheeler, two per- 
sons only. 

,. . ( Hansom (1-2) 1 sh.; extra ml., 6d.; 1 h., 2)4 sh.; extra % h., 8d. 

„ . . -j Four-wheeler, cab, (1-2) 1 sh. ; extra pers., 6d.; 1 h., 2 sh.; extra 

m . circ e. J ^ ^ 6d 

Lucerne.— (1-2) & h-, 80c; (3-4) 1.20 fr. ; 1 h., 2 and 3 frs. 

Lyons. — C. (1-4) 1.50 fr.; 1 h. (1-4) 2 frs. Omnibus, sta. to hotel, 50c; luggage extra, 

Marseilles.— C. (1-4) 1.50 fr. ; 1 h. (1-4) 2.25 frs. Sta. to hotel, 50c. to 1.5U fr. 

Milan.— C. (1-4) 1 fr. ; }£ h., 1 fr. Sta. to hotel (1-4) 1.25 fr. 

Moscow. — C. (1-2) 15 cop. ; 1 h. (1-2) 25 cop. ; extra h., 15 cop. 

Munich.— % h. (1-2) 50 pf. ; %h..,l mk. Two horses, (1-4) double rates. 

Naples.— C. (1-2) 70c. ; 1 h. (1-2) 1.50 fr. ; extra h., 1.10 fr. Two horses, double 

rates. 
Paris.— C. (1-2) 1.50 frs.; (2-3) 2 frs. 1 h. (1-2) 2 frs.; (3-4) 2.50 frs. ; extra 5 m. 

20c. ; 10 m., 35c, and pourboire. 
Petersburg. — C. (1-2) 15 cop. ; 1 h. (1-2) 25 cop. ; extra h., 10 cop. 
Prague.— C. (1-2) 40 kr. ; extra % h., 15 kr. Half day, 2><f fl. 
Rome- C. (1-2) 80c. ; 1 h. (1-2) 1.70 fr. ; extra X h., 45e. Two horses, double. 
Rotterdam.— C. (1-2) 60c ; lh., 1.20 g. Excursion, (6-8) 12 g. per day. 
Stockholm.— C. (1, 2, 3) 75 ore, 1, 2 kron. ; 1 h. (1-2) 1 kron.; extra h., 50 ore. 
Turin.— C. (1-2) 1 fr. ; 1 h. (1-2) 1.50 fr. Two horses, about double. 
Venice. — With one rower, first h., 1 fr. ; extra h., 50c. Two rowers, double. 
Vienna. — First }£ h., 50 kr. ; extra % h., 20 kr. Two horses, first h., 1 fl. ; extra 

% h. 50 kr. 

Unless the traveller is familiar with the legal fares, coins, and 
language, it will be altogether safer, especially if there is lug- 
gage, to let the hotel porter pay the fare. 

Note — In the following tables it will be observed that the column on the 
left reads downward and that on the right reads upward for the train mov. 
ing in the reverse direction. 



EOUTES. 



ABBREVIATIONS : bfr., before reaching ; aft., after 
passing; dst., ditant; nr., near by; ml., mile ; m., minutes; 
ru., ruin*, n., north; s., south; e., east; w., west; r., right; 
1., left ; cas., castle ; ch., church ; vil., village ; x , cross ; 
ro., round; sq., square; *, excellence; **, special excel- 
lence, or interest. 



Route No. 1. Queanstown— Cork— Dublin. 
177 mis. ; 7 hrs. Fares, I. CI., 29/(3; II., 22/9. 




C«pe 



12 

Mis. 

6 

21 
28 
36 



1. Q,«eenstown. 

2. Cork 

3. Blarney 

Rothduff 

4. Mallow June 

5. Buttevant 

Charleville 

Kilmallock 

Knocklong 

Emly 

55 6. Limerick June . . . 



48 



1. See Queenstown. 

2. See Cork. Long tunnel. 

3. On the e. ruins of Blarney Castle ; aftet • 
ward the ruins of Mourne Abbey. 

4. On the Blaokwater. June, for the Lakes of 
129 ; Killarney. Modern castle on the river bank. 

„ l 5. Seat of Lord Donerail. x x x the Arobeg. 
Broken country. 
107 6. June, for Limerick, 22 mis. diet. 



12 

165 
159 

144 
137 



508 



ROUTE NO. 2. 



70 

78 

88 

99 
106 
114 
122 
129 
135 
139 
146 
154 
1611 15 
16516. 



Dundrum 

Thurles 

Templemore 

Ballybrophy 

Mountrath 

Maryborough 

Portarlington 

Monasterevan 

Kildare June 

Newbridge 

Sallins 

Hazelhatch 

Clondalkin 

Dublin, Kg. br. 
" N. WaU 



95 
87 
79 
66 
59 
51 
41 
36 
30 
26 
19 
11 
4 
Mis. 



7. Seat of Lord Hawarden ; magnificent park 
of 2,400 acres. 

8. Castle of the 12th cent. 

9. Aft. Rock of Dunamase, on which are ruins 
of cas. of Strongbow ; destroyed by Cromwell. 

10. x the BaiTow. 

11. Named from a monastery fndd. in 7th ct. 

12. June, for Waterford. Aft. extensive 
plain. 

13. Aft. e. ru. of Colin Abbey, 1202. 

14. Celbridge Abbey. [Kilmainham. 

15. With fine ro. tower. Aft. hospital of 

16. Great Southern and South Western Rail- 
way Station, situated on the west margin of the 
city. See Dublin. Several sta. for railways. 



Route No. 2. Dublin— Belfast. 

113 mis. ; 3 hrs. Fares,!. 01. , 20/; II., 15/. 



Mls.j 1. 

7; 

14 

22; 

27! 

32 j 2. 
47 
57 
69 
77 
8U 
88 4. 



Dublin 

Portmamock 

Rush , 

Balbriggan 

Laytown 

Drogheda 

Castlebellinghain . . 

Dundalk 

Bessbrook 

Poyntzpass 

Scarva June 

Portadown 



113 
106 
99 
91 
86 
81 1 
65 1 
59! 
44 
361 
S3 1 , 
25 



99 Moira 


14 
8 
3 

Mis. 


110 Balmoral 

113 1 6. Belfast 



1. See Dublin. 

2. Pop. 15,000. On the river Boyne ; near 
by was fought the celebrated battle of the 
Boyne, 1690, by which James II. finally lost his 
throne. 

3. Pop. 12,000 ; noted as the place of corona- 
tion and the residence of the last Irish king, 
Edward Bruce, brother of Robert Bruce. June, 
for Enniskillen. 

4. June, for Londonderry. 

5. June, for Antrim, Portrush, and Giant's 
Causeway. 

6. See Belfast. Trains to Lame, for State 
Line Steamers, 1 hr.: to Londonderry, for 
Anchor Line Steamers, 3 hours; to Portrush, 
for Giant's Causeway, 2^ hrs. Stations on the 
opposite side of the city. 



Eoute No. 3 A. Glasgow— Edinburgh («*« the Lakes). 

113 mis. ; 12 hrs. Fares, I. CI., 26/4; II. CI., 20/4. (Coach- 
man's fees extra. ) 

Glasgow, Dundas St. Station. Edinburgh, Waverty Station. 

[A pleasanter but less expeditious route may be taken from Glasgow to Loch 
Lomond by steamer via the Clyde, Loch Long to Arrochar, thence to Tarbet, on 
Loch Lomond.] 



Mis. 

1 

4 

11 

16 

17 



1. Glasgow 

2. Cowlairs . . . 

3. Maryhill . . . 

4. Kilpa trick. . 

5. Dumbarton. 
Dalreoch 



1. See Glasgow. 

2. Aft. pass through the grounds of Sir Arch. 
Alison, the historian. 

3. Forth and Clyde Canal, x the Kelvin, 
n. Garscube, seat of Sir Arch. Campbell, 

Bart. ; s. Gavtnavel, asylum for lunatics. 

4. Birthplace of St. Patrick. 



ROUTE NO. 3A. 



501) 




510 



BCUTE NO. 3A. 



Renton 

Alexandria. . . 
Balloch Sta.. 
'' Pier 



6. L. Lomond 

Balmaha , 

Luss 

7. Rowardennan. 

8. Tarbet 

9. Inversnaid 



10. Stronachlac'ar 



11. L. Katrine. 

12. Loch Pier 



Trossachs Inn. 
13. Callander 



14. Doune 

15. Dumblane 

Bridge of Allan 

Stirling 

Bannockburn 

Larbert 

18. Grahamston 

Poltnont June 

Manuel 

Linlithgow 

Winch burgh 

Ratho June 

47 20. Gogar 

49 Corstorphine 

51 1 Hay market 

52.21. Edinburgh . . . 



19. 



5. See Dumbarton, 

6. On leaving the pier the boats usually bear 
to the east, leaving the islands upon the west. 
Inch Murrin (first isl.), is a deer park of the 
Duke of Montrose. Isls. Creeinch, Torinch, 
Clarinch, and Inch Calliach — isl. of women, 
from a former nunnery. 

Pass of Balmaha ; Inch Fad, long ; Inch 
Cruin, roiind ; both low, flat. Between the 
wooded Inch Conuochan w. and Inch Tava- 
nach e. are the Straits. The last large isl. e. 
8 I Inch Lonaig, is a deer park of the Colquhoiins. 



6 
~10 



22 
20 
17 
12 

8 
5 
3 
1 

Mis. 



7. Point of ascent of Ben Lomond {beacon 
mountain), 3,175 ft., at the base of which is 
Rob Roy's Prison ; on the shore opposite is 
Inver-Douglas, or Glen Douglas ; to the right of 
which, on the hill, is Fairies 1 Loch, a haunt of 
fairies. 

8. Point of departure for Arrochar; on Loch 
Long, 2 mis. dist. ; thence boat may be taken 
for Glasgow via Loch Long and the Clyde. 

9. Take coaches for Lioch. Katrine ; this 
is the ' ' MacGregor's country " of Scott's ' ' Rob 
Roy." Gen. Wolfe, the hero of Quebec, once 
commanded a fort at this point. A short dis- 
tance above, on the shore, is Rob Roy's Cave, 

where the " outlaw," as well as Bruce, took refuge ; opp. is Benvoirlich, 3,160 ft. 
On the road to Loch Katrine, n. is Glengyle, the seat of the Macgregor ; 3 mis. s. 
is Loch Arklet. 

10. Steamer for Locli Katrine. 

11. 8 miles in length; the stronghold of the MacGregors ; s. side, about mid- 
way, is the gateway of the Glasgow Water Works, which tunnel the mountain 
6,975 ft. Near the lower end of the lake is Ellen's Isle. 

12. Take coach for Callander, passing the Trossachs; n. Ben A'an, 1,800 ; 
b. Loch Achray ; Bridge of Turk ; s. Loch Vennachar ; s. Lochan-nan-Corp, or 
dead lake, from the drowning of a funeral party of 200 persons ; Coilantogle Ford ; 
Kilmahog Bridge ; n. Ben Ledi — hill of God, 2,883 ft., scene of the Beltane 
Mysteries. 

13. Take rly. for Stirling, Edinburgh, or Glasgow. 

14 At the junction of the Tcith and the Ardock. In the cas. resided the Earls of 
Monteith, the Dukes of Albany, the Regents during the captivity of James I. and 
Queens Margaret and Mary. 15. On the hills, the battle of SherifEmuir, 1715. 

16. See Stirling. 17. Scene of the great Scottish victory under Bruce, 1314. 

18. Wallace defeated, 1298, by-Ed. I. ; 1746, Pr. Ch. Ed. defeated the Eng. 

19. Cas. founded by Ed. I. of Eng. ; captured and destroyed by Bruce ; restored 
by David II. ; made a royal residence by James I. ; birthplace of Queen Mary ; 
burned, 1746. 

20. Battle between Cromwell and Leslie, 1650. 



21. See Edinburgh. 



ROUTE NO. 3 



511 



Route No. 3. Glasgow— Edinburgh {direct). 

Trains Each Way Nearly Every Hour. 

Fares, I. CI., 5/6 ; II., 3/11. Return, L, 9 6; II., 7/. 

B. Glasgow, Central Station, via Stepps, 4 mis. ; Garnkirk, 6 ; 
Gartcosh, 7; Gartsherrie, 9; Coatbridge, 10; Whifflet, 11 ; Holytown, 13 ; New- 
arthill, 15 ; Bellside, 1? ; Shotts, 21 ; Fauldhonse, 25 ; Breich, 27 ; Westcalder, 
31 : Newpark, 33 ; Midcalder, 38 ; Currie Hill. 42 ; Kingsknowe, 44 ; Slateford, 
45 ; Edinburgh, Princes St. Station, 47 mis., 1)4 hrs. 

C. Glasgow, College Station, via Bellegrove, 1; Parkhead, 2; Shettle- 
ston, 3 ; Easterhouse, 5 ; Cuilhill, 6 ; Airdrie, 1 1 ; Clarkston, 12 ; Caldercruix, 1 5"; 
Forrestfield, 17 ; Westcraigs, 20 ; Armadale, 22 ; Bathgate, 25 ; Livingstone, 28 ; 
Uphall, 31 ; Dramshoreland, 32 ; Ratho, 34 ; thence via Route 3.A ; 42 mis., 
1% hrs. 

D. Glasgow, Queen St. Station, via Cowlairs, 1 ; Bishopbriggs, 2 ; Lenzie 
June, 5; Croy, 10, defeat of Pr. Ch. by royal troops, 1746; Castlecary, 14; 
Bonnybridge, lb" ; Falkirk, 20, defeat of Wallace by Ed. I., 1298; also battle be- 
tween Pr. Ch. and royal army, 1746 : Polmont June, 24 ; thence via Route 3. A ; 
46 mis.. 2 hrs. 



Route No. 4. Glasgow— London (London & N. W.). 



403 mis. ; 10 hrs. 
Glasgow, Central 



Mis. 


Glasgow 


403 


5 


1. Gnrnkirk 


395 


8 


2. Coatbridge 


1" 


3. Holvtown 


391 

389 


14 


4. Motherwell 


17 


5. Wishaw 


38(5 
382 
3T7 


91 


6. Carluke 


26 




30 


8. Carstairs ... 


373 


37 


9. Symington 


366 


40 


10. Le imingr.on 


363 


46 


11. Abington 


357 
352 
340 
335 


51 


Elvanfoot 


63 


12. Beattock 


68 




71 




332 


74 


Nethercleugh 


32!) 


77 


13. Lockerbie. . . 


3526 


82 


14. Ecclef echan 


S21 


86 


15. Kirtlebridge 


317 


90 


16. Kii-kpatrick 


313 


94 




309 
304 


99 


18. Rockcliffe 


103 


19. Carlisle 


300 
203 


110 


Southwaite 


120 




283 


125 




278 



Fares, I. CI., 58/; II., 45,3. 
Station. London, Euston Station. 

1. Mf'g of fire-clay. Bedlay, seat of the Earls 
of Kilmarnock — several small lakes. 

2. Numerous iron furnaces. June, for North 
of Scotland. 

3. x the N. Calder, x the S. Calder. Iron 
and coal district. 

4. June, for Ayrshire — the land of Burns. 
Cleland House, seat of the Earl of Stair. 

5. Seat of Lord Belhaven ; x the ravine of 
Garion Gill. Mauldslie cas. Numerous elegant 
mansions. Great coal and iron district. Gorge 
of Jock's Gill. 

6. Aft. 1 ml. is Halibar Tower of the Doug- 
lasses and Lockharts. 

7. Seat of Sir Norman Lockhart. Craiglock- 
hart cas., r.; x the Mouse Water. 

8. Stop 3 m, June, for Edinburgh. 

9. On the Tinto, 2,312 ft. high, is a cairn with 
ru. of Druid circles, camps, etc. 

10. Ancient patrimony of the wife of Wal- 
lace ; x the Duneaton Water. 



512 



ROUTE NO. 5. 



133 

140' 



Shap ' 270 

Tebay June i 263 



154 22. Oxenholme June 
167 1 Carnforth. 
171 ! 23. Lancaster. 
178 \ 24. G-arstang . 
193 25. Preston... 



199 
209 
221 
403 



Euxton 

26. Wigan 

27. Warrington. 
London . . 



240 
23f5 
232 
219 
210 
204 
194 
182 
Mis. 



11. r. Arborg Hill crowned by Druid Temple . 
Crawford cas. 12. x the Silver Annan. 



13. June, for Portpatrick and Belfast. Has 
the most noted Lamb Fairs in Scotland. Birth- 
place of Robert Burns ; x the Milk Water. 

14. Cas. of Hoddam of the Bruces, nr. ; e. 
Brunswick Hill, important Rom. fortress. Birth- 
place of Thomas Carlyle ; rly. along the valley 

J of the Annan. 

15. Scene of Wordsworth's ballad of k ' Pair Helen of Kirkconnel Lee." 

16. Battle between the Eng. and Scotch, 1483. 
On the border ; noted for runaway marriages ; x the Sark ; x the Esk. 
w. View of Solway Firth, 30 mis. to the sea ; x the Eden. 
Stop 5 m. ; destroyed by the Danes ; cas. built by Wm. Ruf us. 
6 mis. n. e., is a Druid Circle, 115 yds. in diam., of 67 stones, known as Long 

Meg and her daughters — largest, 5 ft. in diam, and 18 ft. high. 

21. Battle of the Pretender, 1745. 

22. June, for Windermere and the Eng. Lakes, 10 mis. dist.; x the Mint ; near 
Lancaster x the Lune. 

23. Cas. on site of Rom. fort, rebuilt by John o'Gaunt. 

24. On the Wyer ; G-reenhalgh cas., r. 

25. Stop 20 m. for dinner (Priest's Town) ; on the Ribble ; taken and burned 
by Bruce, 1323. Birthplace of Arkwright. 

26. Stop 5 m. June, for Liverpool. King Arthur defeated Saxons. 

27. Stop 5 m. June, for Liverpool. 

From Warrington to London. See Route No. 7. 



17. 

18. 
19. 
20. 



Edinburgh— London {Lond. & N. W.), 400 mis. ; 10 hrs. 
Edinburgh, Princes St. Station. 

Edinburgh to Carstairs, 28 mis. ; thence see Note No. 8 above. 



Route No. 5. Edinburgh— London, (Midland.) 

403 mis. ; 11 hrs. Fares, I. CI., 57/6 ; III., 32/8. 

Edinburgh, Waverly Station. London, St. Pancras Station. 



Mis. 

8 
12 
16 
27 
33 
37 
45 
48 



Edinburgh 

Portobello 

1. Dalhousie 

2. Gorebridge 

3. Tynehead 

Stow 

4. Galashiels June. . 
5 



403 

395 
391 

387 
376 
370 



1. x the Esk ; Newbattle Abbey, Dalhousie 
cas., and Cockspur Ho., nr. 

2. Newbyres cas. r. ; Oxenford cas. Passing 
Fushiebridge sta., 13 mis., Armiston Ho. ; 
Borthwick cas. , residence of Queen Mary and 



Melrose | 3bh I BothwelL whence she escaped disguised as a 

Belses j 358 | 

Hassendean. ......; 355 | man. Catcune cas., Crichton cas. 



ROUTE NO. 6. 



513 



52 6. 

56 
59 
65 

74 

77 
84 
SS 



164 

173 

179 9. 

191 

195 

205 10. 

215 



230 11. 

12. 



295 
304 13. 
30? 
310 



35S 14. 
366 15. 
371 
377 
.16. 



403 



Hawick 351 

Stobs 347 

Shankend 344 

Riccarton 338 

Newcastleton 329 

Kershope Foot 326 

Riddings June 319 

Longtown 315 

Carlisle 

Lazonby 

Longwathby 

New Bisrgin 

Kirkby Stephen . . . 

Hawes June 

Horton 

Settle 239 

Bell Busk ?3Q 

Skipton 224 

Bingley I 212 

Shipley ' 208 

Leeds ! 198 

Normanton j 188 

Royston I 

Swinton June j 

Masbro' 

Sheffield j 173 

Dronfield i 

Chesterfield 

Codnor 

Trent 

Loughborough . . . 

Leicester 

Wigston June. . . 
Market Harbro' . . 

Kettering 

Wellingbro' 

Sharn brook 

Bedford 

Ampthill 

Harrington 

Luton 

St. Albans 

Elstree 

Hendon 

London Mis. 



108 
99 
96 
83 



45 
37 
32 
26 



3. x the Tyne. 

4. Stop 5 m. Thirlestone cas., on site of one 
built by Ed. I. 

5. Sta. for Abbotsford and Dryburgh. See 
Melrose. 

6. Scenery of the " Lay of the Last Minstrel." 

7. Scottish frontier. 

8. Stop 5 m. ; destroyed by the Danes ; cas. 
built by Wm. Rufus. 

9. Stop 8 m. 

10. Stop 5 m. ; on the Aire. Extensive mf g 
of linens and woollens. Birthplace of Dr. 
Priestly ; x the Calder. 

11. On the Sheaf and Don. Mf g of iron ; cas. 
built by Henry VIII. ; destroyed by the Pari, 
army. 

12. Beauchief Abbey, r., founded, 1163, in 
expiation of the murder of Becket. 

13. Stop 4 m. Rom. town, taken by the 
Danes 874, recovered by Ethelfleda, dau. of 
Alfred. Richard III. buried here. Abbey, r. 
nr., 1143, in which Card. Wolsey died in 1530. 

14. On the Ouse. It was in the jail in this 
place that Bun yan wrote his " Pilgrim's Prog- 
ress." 

15. Queen Catherine resided here when 
Cranmer pronounced her sentence of divorce. 

16. Supposed to have been founded by the 
Britons prior to London. 



Route No. 6. Edinburgh— London. {Gt, Northern.) 
896 mis. ; 9 hrs. Fares, I. CI., 57/6 ; II., 44/9. 
Edinburgh, Waverly Station. London, King's Cross Station. 



| 1. Soon after leaving the city pa?s Portobello 
396 j June, and the Links, a barren territory, where 
! Cromwell encamped after the battle of Dunbar, 
I 1650. 



Mis.) 1. Edinburgh. 

9j 2. Prestonpans 

13j 3. Longniddry June. . 
Drem June . .' . 

) 4. Dunbar i fce pinkie on the banks of wh i ch the 

Reston J unc ^ 

f 5. Berwick ! 339 \ Scots met with a disastrous rout from the Eng- 



29 
57 



514 



ROUTE NO. 7. 



72 

86 

106 



Belf ord 

6. Alnwick 

Morpeth 

Killingworth. . 

7. Newcastle. 
Birtley 

8. Durham 

Darlington. . . . 
N. Allerton . . 
Thirsk June . . 
Piimoor June. 

Shipton 

York 

Selby 

9. Don caster 

257 i 10. Eetford 

276! 11. Newark 

2901 Grantham.... 
320 12. Peterbro 1 .... 

1 13. Huntingdon. . . 
356 i Biggleswade . . 

371 1 14. Welwyn 

376 Hatfield 

396 15. London 



124 

140 

178 

208 
240 



320 
287 
272 
256 
218 

188 

156 
139 
120 

106 
76 

40 

25 

20 

Mis. 



lish, 1547 ; r. dist., is Carbery Hill, where Queen 
Mary surrendered to the lords, 1567. 

2. So called from the pans used in making 
salt. Aft. is the battlefield of Prestonpans, in 
which the Eng. were defeated by Pr. Ch. Ed., 
the Young Pretender, 1745. 

3. John Knox born at Haddington, 4 mis. 
dist. 

4. " A small town, standing high and windy, 
looking over its herring-boats." In the rear, 
the nuns of Dunbar cas., where Qneen Mary 
sought refuge after the death of Darnley, and a 
few days before her surrender at Carbery Hill. 
Aft. 1 ml. x the Broxbourne, memorable for 
the battle of Dunbar, in which the Scots were 
signally defeated by Cromwell, 1650. ** Sea 
views. 

5. Station occupies the site of an ancient cas.; 
x the Tweed on an elevated viaduct ; boundary 

line between Eng. and Scot; pop., 13,000. 

6. Noted for its Castle and Abbpy. 7. See Newcastle. 

8. On an eminence nearly surrounded by the Weare ; dates from the 10th cent. 
Possesses one of the most magnificent cathedrals of England. Cath. and cas. are 
both within 5 m. of the station. 

9. Don castra of the Romans, one of the most delightfully clean and inviting 
towns of England. 

10. June, of line to Liverpool. 

11. Ruins of the cas. in which King John died, 1216. 

12. In the cathedral were buried Queen Catherine and Mary Queen of Scots ; 
the latter was afterward removed to Westminster, x the Nen. 

13. On the Ouse. Pop., 5,0C0. Birthplace of Oliver Cromwell. 

14. In the ch. is buried Young, the author of "Night Thoughts." At H. is 
Hatfield House, once the residence of Pr. Ed. VI. ; also of Elizabeth, in the reign 
of Mary ; Ch. I. was here a prisoner ; now the seat of the Marquis of Salisbury. 

15. King's Cross Station. 



Route No. 7. 

202 mis. # 
Liverpool, Lime St 



Mis. 

3 

5 

6 

10 

11 

15 



1. ^Liverpool . ... 

2. Broad Green 

3. Roby 

Huy ton 

Lea Green 

4. St. Helen's June. 

5. Warrington June. 



Liverpool— London. {Land. andN.W.) 
5 hrs. Fares, I. CI., 29/ j II., 21/9. 

Station. London, Euston Station. 

1. Some trains proceed via St. Helen's June 
to Warrington ; others via Runcorn to Hart 
ford, thence via same route. 

2. w. Seat of the Marquis of Salisbury ; e., 
seat of the Earl of Sefton. 

3. n. Knowsley Park of the Earl of Derby. 



202 
199 
197 
196 
192 
191 
187 



ROUTE. NO. 8. 



515 



20 

28 

33 

37 1 Wiusford 

44 7. Crewe . . . 



6. Warrington | 182 

Moore j 179 

Hartford ! 169 

165 

158 

147 

133 

124 

116 

110 

102 

97 

91 

82 

69 

63 

52 

46 

40 

36 

31 

27 

17 

11 

Mis. 



55 Whitmore 

69 8. Stafford 

78 Rugeley 

86; 9. Lichfield 

92 10. Tamworth 

100 11. Atherstone 

105 12. Nuneaton 

111! Shilton 

120 13. Rugby 

133 14. Weedon 

139 Blisworth , 

150 15. Wolverton 

15616. Bletchley , 

162 17. Leighton , 

166 Cheddington 

171 18. Tring , 

175 19. Berkhampsted .... 

185 20. Watford 

191 21. Harrow 

202 London 



4. x Sankey Viaduct. 

5. June, with main line for Glasgow. 

6. From Warrington to Glasgow, 

See Route No. 4. 

7. Stop 5 m. June, for Liverpool. Buffet. 

8. On the Sow : pop. 22,000. Birthplace oi 
Isaac Walton ; x the Sow. 

9. ** Cathedral ; 8 towers ; central 258 ft. 
Birthplace of Dr. Sam. Johnson. School, 
founded by Ed. IV., in which Addison, Dr. 
Johnson, and Garrick were educated ; x the 
Tame. 

10. Cas. founded by Ethelfleda, daughter of 
Alfred the Gt. 

11. Camp of Richmond previous to the battle 
of Bosworth Field. 

12. Ruins of an abbey destroyed by Cromwell. 

13. Celebrated school founded in time cf 
Elizabeth ; cas. in time of Stephen. Residence 



of Addison ; x the Oxford 
canal ; Kilsby tunnel, 1}£ ml. 

14. Stowehill tunnel, 1,500 
ft. 

15. Buffet; bfr. x viaduct 

660 ft. 

16. Linsdale tunnel, S70 ft. 

17. Mentmore, nr., residence 
of Baron Rothschild. 

18. Park House, built by 
Chas. II. for Nell Gwynne: 
North Church tunnel, 1,080 ft. 

19. Cas., r. of the kings of 
Mercia. Birthplace of Cowper. 

20. Watford tunnel, 1% mL 

21. On a height ; school at 
which Byron and Peel were 
educated. Primrose Hill, tun- 
nel, X ml. 




Environs of Liverpool. 



Route No. 8. Liverpool— London. (Midland.) 
Liverpool, Central Station.. 210 mis. ■ 5 to 7 hours, via 
Warrington, to Trent ; thence via Route No. 5. 



516 



ROUTE NO. 9. 



Route No. 9. Liverpool— London, {Ot. Wester?i.) 

197 mis. ; 5 hrs. Fares, I. CL, 29/ ; II. , 21/9. 
Liverpool, Landing Stage. London, Paddington Station. 



Mis 



1. Liverpool . 

2 2. Birkenhead . . . 

6| Bromborough. 

12 3. Mollington 

16 4. Chester 

26! Wrexham 

32 J 5. Ruabon 

34 ! 6. Cefn 

38 | 7. Chirk 

! 8. Preesqweene . . 

40' 9. Whittington .. 
56 10. Shrewsbury . 
66 



197 
195 
191 
185 
181 
171 
165 
163 
159 

157 
141 



Wellington , 131 



7211. Wolverhampton. 

77 1 Wednesbury 

83 12. Birmingham . . . 

96 i Knowle 

|13. Hatton 

104114. Warwick 



106:15. Leamington 
Compton. . . . 

121; 16. Banbury 

142J17. Oxford 

Didcot 

15918. Reading 

171 19. Maidenhead 

176 20. Slough 

18121. W. Drayton. 

188:22. Southall.... 

190 23. Hanwell . .. 

192' 24. Ealing 

197 London . . 



125 
120 
114 

102 

93 
91 

76 
55 



26 

21 

13 

9 

7 
5 

Mis. 



1. See Liverpool. Ferry from the Landing 
Stage to Birkenhead, across the Mersey. 

2. Pop. 66,000. 3. x the Dee. 

4. Stop 8 m. ; old Bom. town ; walls still re- 
main, x the Dee ; x Pulford Brook (21 mis.); 

x the Alun (24 mis.). 

5. * Scenery. 

6. Ellesmere Canal Viaduct across the Dee, 

7. * Scenery. 8. x the Ceiriog. 

9. Cas., r. home of " Dick Whittington ; " 
x the Llanymynech. Rednallsta.; x the Perry. 

10. Stop 5 vi ; in the time of Alfred was one 
of the chief cities of the kingdom. Cas. built in 
time of Wm.: Ed. I. resided here, 1277 ; Par- 
liament met here, 1283, also 1397. Hotspur de- 
feated by Henry IV., 1403. 

11. Stop 5 m. 

12. Stop 5 m. ; on the Rea ; pop. 400,000. 
Rom. Bremenixim. 

13. June, for Stratford-on-Avon. 

14. On the Avon ; cas. founded by Ethel- 
fleda ; now occupied by the Earl of Warwick 
(war ik). 

15. On the Leam ; one of the most beautiful 
towns in England, and a popular watering- 
place. 

16. Noted for its " Hot cross buns " and cheese. 

17. Stop 5 m. See Oxford. Aft. x , x , and along the Thames. 

18. June, for Bristol ; sometimes change cars ; . Birthplace of Laud ; Benedic- 
tine Abbey, r., founded by Henry I., 1112 ; x the Loddon. 

19. * Viaduct over the Thames, 13 arches. At the Greyhound Inn, Ch. I. took 
leave of his family. 

20. June, for Windsor. Observatory where Herschel erected his great tele- 
scope, s. Eton College : n. Gray's "churchyard/' also residence of Wm. Penn, at 
Stoke Pogis, 3 mis. 

21. s., nr. cas., r. seat of Bolingbroke ; also near Egham is Runnymede, where 
King John was forced to sign the Magna Charta. 

22. s., nr. Hounslow — scene of the tournament preparatory to the demand for 
the Magna Charta. Encampment of Army of Ch. I. 

23. 3 mis., s., Brentford, defeat of the Danes by Ed. Ironside, 1016. 

24. Wharncliffe Viaduct, 900 ft. Middlesex Lunatic Asylum, s. Near London 
is Kensal Green Cemetery — tombs of two daughters of Sir Walter Scott, Sidney 
Smith, Tom Hood, and Hume. 




England 




If '^^^Sl^ *^P*^ 
i^Caermartherv j Woss A " 2 * E71 y 







ROUTE NO. 10 A. 517 

Route No. 10 A. London— Antwerp (JBy Steamer). 
Fare, I. 01., 24/. 18 hrs. 

Prom London, St. Katharine's Wharf ; Sun., Tu., Sat. 
From Antwerp, Tu., W., F. Departures usually about noon. 



Route No. 10 B. London— Antwerp— Rotterdam ; daily. 

Railway to Harwich (har-itch), 70 mis., thence by steamer. I. CI. 26/. 
From London, Bishopsgate Sta., 7 p.m. Arr. Ant., 10 a.m. ; Rot., 9 a.m. 
From Antwerp, 4 p.m. (winter, 1). Arr. Lond., 7 a.m. ; winter, 5 a.m. 
From Rotterdam, 6 p.m. (winter, 2). Arr. Lond., 7 a.m. ; winter, 5 a.m. 



Route No. 10 C. London— Antwerp (Via Flushing), daily. 
Fare, I. 01., 29/. 16 hrs. 

Rly. to Queenboro ; steamer to Flushing ; rly. to Antwerp. 

From London, Holborn and Ludgate Hill Stations, about 8 p.m. 

From Antwerp, rly. to Flushing ; thence by steamer about 6 p.m. 



Route No. 11. London— Brussels ( Via Ostend), twice daily, 

a.m. and p.m. 236 mis. ; 9 hrs. Fare, I. CI., 47/9. 
London, all City Stations. Brussels, Gare du Nord. 

1. London-Dover. See Route No. 12. 

2. Dover-Ostend, steamer, 68 mis., 6 hrs. 

3. Through trains only go to the Quai ; local 
trains stop in the city, a mile distant. Strongly 
fortified. 

4. Ch. of Notre Dame contains the tomb of 
Chas. the Bold. * Memling's pictures in the 
Hospital of St. John (9-12; 1-6), 1 fr. The 
Belfry of Bruges is said to have the finest 
chime in Europe, 48 bells ; play every % hour. 

5. Stop 8 m. ; on 26 islands in the Schelde 
and the Ley , 88 bridges; pop. 125,000. Exten- 
sive manufacturing of cotton, linen, and lace. 
The weavers of Ghent, in 1297, repulsed Ed. I. 
of Eng. with 24,000 troops. In 1400 had 80.000 
capable of bearing arms. Birthplace of Emp. 
Ch. V. In the cathedral— interior of black 
marble — is Van Eyck's *Adoration of the Im- 
maculate Lamb, the wings of which were purchased for the Berlin Museum fot 
$80,000. 

6. Stop 3 m. ; pop. 20,000 : fortress built by the Goths, 411. x the Dendre. 

7. Stations, St. Martin, Dilbeek, Berchem. 8. Royal chateau. 

9. Station Gare du Nord, on the northern margin of the city. See Brussels. 



Mis. 
90 


1. London 

2. Dover 


90 

68 


— sa 


3. Ostend 


68 


78 
69 
65 
60 
56 
50 
46 
44 
40 
35 
31 
26 
19 
17 
15 
10 

a J 

2 

MlR. 

1 


— „ 


Jabbeke 


13 


4. Bruges 


18 
22 
28 
32 


Oostkamp 

Bloemendaele 

Aeltre 

Hansbeke 


34 

38 
43 


Tronchiennes 

5. Ghent 


47 


Melle 


52 

59 


6. Alost 


61 
63 

68 
75 

76 

78 


Erenbodeghem 

Ternath 


7. Jette 


8. Laeken 


9. Brussels 



518 



ROUTE XO. 12, 



Route No. 12. London— Paris ( Via Dover- 
my. London — Dover ; steamer, Dover— Calais ; rly. Calais — Paris 
285 mis. ; 10 hrs. Fares, I. CI., 60/; II., 45/. 
London, all City Stations. Paris, Gare du JSford. 



London . 

1. Rochester. . 
Chatham . , 

2. Canterbury 

3. Dover . . . 

4. Calais. . . 

5. Boulogne . . 

6. Neufcliatel . 

Staples 

Moatreuil. . 
Rue 

7. Novelles . . . 

8. Abbeville . . 



225 
230 
243 



1. On the Medway. Oldest b'pric in Eng., 
next to Canterbury ; * cathedral in Norman- 
Eng. style. 3 mis. from R. is Gad's Hill. 

2. Earliest ch. in Eng ; built by King Lucius ; 
destroyed by Danes, 1011 ; rebuilt by Canute, 
1023 ; burned, 1067 ; rebuilt, 1070. Scene of 
Becket's murder, 1170. Contains the shrine of 
Becket, and tombs of the Black Prince, Henry 
IV. and his Queen. 

3. In a deep valley ; steamer across the Chan- 
nel, 21 mis. e., Tower Hill, 370 ft. high, with 
cas. ; Shakespeare's Cliff, % ml. s. w. of the 
Landing. 

4. Steamer Landing ; pier % ml. long ; light- 
house 180 ft. Fortress of great strength ; taken 
by Ed. III. of Eng., 1347; retaken by the 
Prench, 1558. Henry VIII. lodged in the H6tel 
de Guise. 

5. Stop 5 m. ; pop, 40,000. In the upper town 
is the citadel where Godfrey de Bouillon was 
born ; and Louis Napoleon imprisoned, 1840. 
Napoleon's Column. 1 ml. dist., 160 ft. high, 
was erected, 1S04, in honor of the Grand Army 
of 180,000 men intended for the invasion of 
Eng., prevented only by the destruction of the 

French fleet by Nelson at Trafalgar. Here Caesar sailed for Eng., B.C. 55 ; Ca- 
ligula, Henry VIII., and Napoleon I., had their military camps ; and the poets, 
Campbell and Churchill, and le Sage, the author of Gil Bias, died. 

6. Bridge 1,600 ft. long across the Canche ; two lighthouses on height, w. 

7. Ed. III. forded the Somme, 1346, and Wm. the Conqueror set sail for Eng. 

8. Rly. follows the valley of the Somme. 

9. Louis XI. and Ed. IV. of Eng. met on the bridge and shook hands in amity 
(over a barricade erected for the purpose). 

10. Stop 10 m. See Amiens. 11. June, for Hazebrouck. 

12. Ruins of chateau of Henry IV., w. 13. Cas. now used as a prison. 

14. Stop 4 m. June, of several rlys. Large porcelain m'fg. 

15. Former residence of the Condes, now of Due d'Aumale, w. 

16. x Viaduct 68 ft. high, 1,400 ft. long. 

17. Abbey in which were entombed the French sovereigns for many centuries 
See St. Denis, 

18. See Paris. 



Mis.; 

33! 

55 i 
80 
101 ! 
1261 
135 
143 1 
150J 
160! 
166 
175. 
180 1 Pont-Remy... 

185 Long-Pr6 

190| 9. Picquigny 

202 10. Amiens 

205 11. Longueau 

20812. Boves 

215 Ailly-sur-Noye 

Bretenil 

St. Just 

13. Clermont 

253114. Creil 

259 115. Chantillv 

263116. Orry-la-Ville . . 

Luzarches 

Goussainville. . 

Villiers-le-Bel . 

St. Denis 



266 

273 1 
276 
281 17 
2S5 18 



285 
252 

230 

205 

184 

159 

150 

142 

135 

125 

119 

110 

105 

100 

95 

83 

80 

77 

70 

(i0 

55 

42 

32 

26 

22 

19 

12 



Paris ;Mls. 



ROUTE NO. 13. 



519 



Route No. 13. London— Paris {Via Folkestone). 

Hour of departure varies daily to meet the tide. 
266 mis.; 10 hrs. Fares, I. CL, 56/; II., 42/. 
London, Charing Cross, and Cannon St. Stations. 
Paris, Gare du Nord. 

London— Folkestone, 82 mis. rly. ; Folkestone— Boulogne, 25 mis. stmr. 
Boulogne— Paris, 159 mis. See Route No. 12. 



Route No. 14. London— Paris (Via Newhaven— Dieppe). 

Hour of departure varies to meet the tide ; twice daily. 

240 mis. ; 15 hrs. Fare, I. CL, 33 . 

London, Victmia Station. Paris, Gare St. Lazare. 



Mis. 1. London : 240 

9 2. Sydenham ! 234 

10 3. Croydon . 230 

21 Red Hill 219 

30 Three Bridges ! 210 

37 HaywardV Heath . 203 

41 Burgess Hill j 199 

57 4. Newhaven \ 18'] 

115 5. Dieppe ; 125 

126 Longueville ! 115 

131 Auffay : 109 

134 St. Victor 106 

143 Monville 97 

147 6. Malaunay 93 

154 7. Roueu 87 

163; Oissel 78 

166 8. Pont do l'Arch . . . . ' 74 
174 S. P. du Vauvray. . 66 

183 9. Gaillon 5S 

190 10. Vernon 50 

197 Bonnieres 43 

203 11. Mantes 35 

215 Meulan 25 

223 12. Poissy 16 

22J 13. Conflans 13 

230 Maisons 10 

14. Colombes 5 

240 15. Paris Mis. 



1. Viaduct of upward of 500 arches. 

2. Crystal Palace, w., on an eminence. 

3. Remains of the old palace of the Ab'ps at 
Canterbury, who frequently resided here till 
1809. Aft. 2 mis. enter the chalk regions with 
rounded hills and open fields ; 6 mis. chalk cut- 
tings ; thence tunnel 1 ml. 

4. Take stmr. : time variable on account of 
tide ; channel 58 mis., time, 6 hours. 

5. Take rly. Upon the river Arques. Pop. 
20,000 ; fashionable bathing resort. Bombarded 
and nearly destroyed by the British, 1694. Has 
extensive Oyster Parks. At St. Victor, ch. 
founded by Wm. the Conqueix>r. 

6. June, of rly. from Havre. 

7. Slop 3 m. See Rouen. 

8. x the Seine ; tunnels through chalk hills. 

9. Chateau, favorite residence of Rich'd I. 
of Eng. 

10. Tower, by Henry I. of Eng., 1123. 

11. Stop 5 m. June, for Cherbourg. On the 
Seine. Burned by Wm. the Conqueror, 1096. 
Here he received the injury which caused his 



death. Aft. 3 mis. Rosny Sta., chateau where Sully was born. 

12. Birthplace of St. Louis. 

13. Confluence of the Oise and Seine. Forest of St. Germain. 

14. Rly. to St. Germain. Palace of St. G. on the hills to the w. 
and enter the Suburbs of Paris. 

15. Station, San Lazare, on the northern margin of the city. 



x the Seine 



520 



ROUTE NO. 16. 




Daaaij 

llbevllel 

Mpai^ne OantSrai 



IOUEN 

JJeativa 



Vompeign 



^Meatus 

3 CovJommiers\ 



HauficJ( 



w Eoi»leI>u 
Bv«ao V -^-"•"'^ • i 

1 Turnhouti \, - 

Ma^triat 



.LIES 



%^ X i 

luxenlburl 



jtfeziere| 





KOUTE NO. 15. 



521 



Route No. 15. Rotterdam— Antwerp. 
73 mis. ; 3£ hrs. Fares, I. CI., 10 fr. 

1. See Rotterdam. 



Trains frequent. 
; II., 8 fr. 



Mis. 
1 
4 
10 
35 
50 
54 
61 
67 
69 
73 



1. Rotterdam 

Fijenoord 

Mallegat 

2. Dordrecht 

Zevenbergen 

3. Roosendaal 

4. Esschen 

Calmpthout 

Cappellen 

Eeckeren 

5. Antwerp 



73 
72 

69 

63 

38 

23 

19 

12 

6 

4 

Ml?. 



2. On an island in the Maas. Nativity of 
Cuyp and Ary Scheffer, Bol, and Maes ; x the 
Oude Maas ; * bridge over the Hollandsch 
Diep, nearly 1 ml., 14 arches, cost 2)£ million 
dollars. 

3. Dutch custom-house. June, for Flushing 
and London. 

4. Belgian custom-house. 

5. See Antwerp. 



Route No. 16. Antwerp— Brussels. Trains frequent. 
28 mis. ; 1 hr. Fares, I. CI., 3.29 fr. ; II., 2 fr. 

1. Antwerp. See Route No. 15. Station near 
the southern limit of the city. 

2. Outer line of fortifications. Since 1S49 ex- 
tensive modern earthworks have been erected 
entirely around the city, upward of 12 mis. in 
length. 3. Gothic chateau of Ter Elst. 

4. On the Dyle ; pop. 40,000. Extensive mf g 
of Mechlin lace ; x the Nethe. 

5. Memorable as the place of Tyndale's trans- 
lation of the Bible, and his martyrdom. Ex- 
tensive penitentiary building. 

6. Near the city, w., royal chateau of Laeken. Station G-are du Nord, on the 
northern margin of the city. See Brussels. 



Mis. 




28 


1 




27 


8 


Contich 


20 


11 


3. Duffel 

Wavre-St. Cath . . . 


17 | 


16 


4. Malines 


12 




Weerde 




5. Vilvorde 












28 


6. Brussels 


Mis. 



Route No. 17. Antwerp— Cologne (Direct). 

90 mis. ; about 5 hrs. Fares, I. CI., 20 fr. ; II. , 15 fr. Country 
comparatively uninteresting. 
Important stations, Lierre, x the Nethe ; Aerschot, x the Demer ; follow the 
Demer ; Diest, x the Demer ; Hasselt, capital of Limbnrg ; Maestricht, x the 
Meuse ; Valkenburg ruins, s. ; Aix-la-Cliapelle to Cologne. See 
Route No. 19. 



Route No. 18. Brussels— Paris. 

198 mis. ; 6 hrs. Fares, I. CI., 30 fr. ; II., 22.60fr. 
Brussels, Gave du Midi. Paris, Oare du Nord. 

Leaving B., follow the valley of the Senne. 

1. Stop 2 m. Quarries of Flemish granite. 

2. Oh. founded 650. Near Mons x the Schelda 



Mis. 


Brussels 


198 


9 


Hal 


189 ! 


19 


1. Braine-le-C 


179 



B99 



ROUTE NO. 19. 



22 

30 
38 l 



56 
59 

64 

76 
103 
117 10 
121 i 

ill 
146 12 
167 13 

i9s; 



2. Soignies 176 

Neufvilles 

Jnrbise 

Ghlin 

3. Mons 

Cuesmes 

Frameries 

4. Quevy 

5. Feignies 

6. Maubeuge 

7. Hautmont 

Aulnoye 

8 Busigny 

9. St. Quentin... 

Tergnier 

Channy 

Noyon 

Compiegne. . . . 

Creil 

Paris 



3. Stop 5 m. On the Trouille ; strcngly forti- 
fied ; fortress erected by Cassar. Coal region. 

4. Belgian frontier; northward trains stop 
10 in. 

5. French frontier ; southward trains .stop 
10 m. 

6. Stop 10 in. Fortified town. 

7. June, for Cologne ; follow the Sambre. 

8. Stop 5 m. 

9. On a height. The Rom. Augusta Viro- 
mandaorum : on the Somme. In 1557, Philip 
II. of Spain defeated the French under Coligny ; 
1871, the Germans routed the French. 

10. Stop 8 m. Buffet. Follow the valley of 
the Oise to Creil. 

1 I - I 11. Castle built by Pepin-le-Bref. Hugh Capet 

elected king, and Charlemagne crowned here. Nativity of Calvin, 1509. 

12. Favorite residence of French sovereigns ; palace erected by Louis XV. 
Joan of Arc captured near the bridge. Residence of Napoleon III. ; cas. built by 
Louis XV. and XVI. 13. Creil— Paris. See Route No. 12. 



168 
160 



142 

139 

134 

112 

95 

81 

77 



52 
31 

Mis. 



Route No. 19. Brussels— Cologne. 

141 mis. ; 6 hrs. Fares, I. CI., 23 fr. ; IL, 17 fr. 
Brussels, Gare du Nord. 

1. Ply. leaves to the north, thence to the n. e., 
until near Louvain, when it joins the rly. from 
Antwerp, and thence turns to the s. e. 

2. Stop 5 in. Hotel de Ville, fine specimen of 
the later Gothic; large trade in beer: x the Dyle. 

3. On the Beck. Birthplace of Pepin of Lan- 
dem, g'dfather of Charlemagne. In the plain 
of Neerwinden, between Tirlemont and L., the 
English defeated by the French, 1693, and the 
French by the Austrians, 1793. 

4. Enter the fertile fields of the Brabant. 

5. Stop 10 in. ; pop. 100,000. Extensive manu- 
factures ; x the Meuse. Scene of Scott's 
'• Quentin Durward." Numerous mfgs of iron. 
Broken, wooded country ; along the Vesder ; x 
the Ourthe. Mf'g of zinc. Cas. of La Rochette ; 
n. * scenery. 

6. Extensive iron and zinc works. 

7. Cas. of Le Trooz, s. near rly. Rly. follows 
the Vesdre. 

8. Stop 5 in. Chateau de Masure, hunting 
seat of Pepin. 



Mis. 




141 


» 




132 


18 
24 


2. I .ouvain 


128 
117 


Vertrvk 


30 Tirlemont 


111 


38 

38 




108 
103 


3. Linden 


43 
46 


Hasoux 


98 
95 


Waremme 


53 Fexhe 


88 


58 4. Ans 


83 


62 5. Liege 


79 


65 

68 
71 




76 
73 
70 


7. Le Trooz 


Nessonvaux 


75 

78 
83 




6« 
63 

58 






8710. Herbesthal 


54 


90 
96 




51 
45 


11. Aix-la-Chapelle. . .. 






106 13. Eschwciler 


35 


11614. Diiren ,. 


25 


129 15. Horrem, 


12 


133 Konigsdorf 


8 


14116. Cologne 


Mis. 



ROUTE NO. 20. 



52:} 



9. Stop 20 m. Good buffet. Customs examination* for westward trains. 
Change cars. Extensive mf g of woollen- ; pop. 35,000. Aft. Dolhain, fortress of 
Limbnrg. 

10. Frontier. Customs examinations for eastward trains ; cas. of Welken- 
hausen ; x the viaduct of the Geul, 126 ft. high, 17 arches; 2 tunnels, the second 
2,200 ft. Cas. of Emmaburg on mountain side. 

11. Stop 5 m. See Aachen, x the Wurm ; n. Frankenburg with ruined tower, 
and lake ; hunting-seat of Charlemagne. Nirmer tunnel, )£ ml. 

12. x the Luke. 

13. Numerous silver, zinc, lead, and coal mines and works. Nothberg ; Rottger- 
sehloss, 4 towers, s. Langerwehe. 

14. 3 mis. bfr. chateau of Merode ; x the Roer ; fertile plain. 

15. Valley of the Erf t ; fine residences ; Konigsdorf tunnel, 1 ml. 

16. See Cologne. 



Route No. 20. Cologne— Mayence. 

Fares, I. CL, 18.50 fr. ; II., 13.50 fr. 
By rly. along the bauk of the Rhine, 115 mis., 4-6 hrs. 

trains. 



several 



The Rhine : Steamer from Cologne to Mayence, 127 mis., up 13, down 9 
hrs. Fares, I. CI., 9 fr. The tickets, upon application, permit the stopping over 
at any landing, but are good only for boats of the same line. The fine scenery of 
the Rhine lies between Bonn and Bingen. Below the former, and above the 
latter, there is little of interest. Refreshments on the boats. 



a.m. 
6.00 
8.15 
9.00 


a.m. 

8.45 

10.45 

2.45 

6.45 

8.30 
8.45 
p.m. 


a.m. 
10.00 
12.45 
l.ao 
2.00 
2.15 
2.30 
4.00 
4.30 
6.30 
7.00 
8.00 
9.30 

7 a. 

7.15 
8.30 
9.15 
9.30 
a.m. 


p.m. 
1.00 
3.45 
4.30 
5.00 
5.15 
5.30 
7.00 
7.30 
9.00 
a* 

to 

p 
H 
Jl 

M. 

iu 

CT 

3 


dep. arr. 

Cologne 

Bonn 

Konigswinter 


p.m. 
4.50 
3.15 
2.45 
2.30 
2.15 
2.00 
1.15 
1.00 

12.15 

11.45 
11.15 
10.30 

915 
9.00 
8.15 
7.45 

7.30 
a.m. 


p.m. 
6.00 
4.45 
4.15 
4.00 
3.45 
3.30 
2.45 
2.30 
1.45 

1.15 
12.48 
12.15 
11.00 
10.'45 
10.00 
9.45 
9.30 
a.m. 


p.m. 
7.00 
5.30 
5.00 
4.45 
4.30 
4.13 
3.30 
3.15 
2.30 

2.00 

1.15 

12.45 

11.80 
11.15 
10.30 
10.00 
9.45 
a.m. 


p.m. 
9.30 
8.00 
7.30 


9.30 
9.45 


Rolandseck 

Remagcn 


7.15 

7.00 


10.00 

11.00 

11.30 

1.00 


Andernach 

Neuwied 

Coblenz 


6.45 

6.00 
5.45 

4.45 


1.30 
2.15 


Boppard 


4.15 
3.45 


3.30 
5.30 
5.45 


St. G-oar 

Ruriesheim 


3.15 
*.00 
1.40 


6.45 
7.30 


Eltville 

Biebrich 


1.05 

12.30 


7.45 


Mayence 


12.15 


p.m. 


arr. dep. 


m. 



On either bank, from Cologne to Bonn, are several unimportant villages. 

w. Bonn. The Castra Bonnensis of Tacitus ; pop. 27,000 ; one of the early 
Roman fortresses on the Rhine ; Emp. Julian rebuilt the walls. Suffered much 
in the Spanish and Dutch wars ; dismantled 1717. Noted for ita University. 




The Rhine. 



ROUTE NO. 20. 525 

The Munstcr is said to have been founded by Empress Helena, 320 ; in the Mun- 
6ter Platz is a statue of Beethoven, 1845 ; the house in which he was bora is in 
the Bongasse, No. 515. In the Kirchhof Cemetery are the tombs of Niebuhr, d. 
1831 ; Schiller's wife and eldest son ; and Schlegel, d. 1845. Pr. Albert was here 
a student. 

The Siebengebirge (seven mountains) are seen in dist. on the e. side of 
the river. Opp. Bonn, Combahn ; further up e. Obercassel, rly. bridge ; w. Plit- 
tersdorf. *Godesberg cas., m. ro. tower, \% ml. dist. ; e. Dollendorf ; w. 
Riingsdorf ; e. Konigswinter, landing for ascent of Drachenfels ; w. Mehlem. 

e. * Drachenfels Mt. (dragon's rock), 910 ft. high ; cas. ru. on summit, 
built by Abp. of Cologne, 12th cent.; occupied by the Swedes in the 30 years' war ; 
captured and destroyed by the Bavarians ; also a hotel, and a monastery erected 
1S57, in gratitude for 40 years' peace ; **view. On s. side is seen the quarry 
from which the stone for the Cologne Cath. was taken. The haunt of the dragon 
slain by Siegfried is half way up on the Rhine side. See Siegfried. 

Rolandwerth or Noiiiienwerth, isl. : the building, formerly a nun- 
nery, suppressed by Napoleon, is now a seminary in charge of the Franciscan 
Nuns. Vine-clad hills above the village. Scene of the legend of " Roland.'" 
See Roland. 

w. *Rolandseck., cas. ru., a single arch (recently rebuilt). 

w. **Oberwinter, vil. ; magnificent view toward the Drachenfels ; w. B.m- 
dorf, vil. ; e. Unkel, vil. ; w. Remagen, vil., with Apollinariskirche, a fine Gothic 
ch., 4 towers ; e. Erpel, vil. 

Ockenfcls, cas. ru., ivy-clad tower ; e. Linzerhausen, vil.; w. Krippe, vil. at 
the mouth of the Ahr ; e. Linz, town taken by Charles the Bold, 1476 ; by the 
Swedes, 1632, and by the French, 16S8 ; e. the ro. tower of Olbruckj cas. ru. 
dist. 

On the Hummelsberg, e., 1,434 ft., is a cross in honor of the victory of Leipsic, 
and on the Kaiserberg, e., one similar, in honor of Waterloo. Wooded hills; e. 
Leubsdorf, vil., 4 towers ; e. Ariendorf. 

e. Arenfels, cas. with several ro. towers, restored, owned by Count Wester- 
holt ; e. Honningen, vil. ; w. Breisig, vil. ; e. Rheinbrohl, vil. 

w. *Rheineck, cas. ru., sq., 70 ft. high, burned 1785 ; new cas. built 1832. 
w. Nippies, vil. ; e. Rheinbrohl. vil., tall spire; w. Brohl, vil.; w. Fornich, vil., 
above which rises an extinct volcano, e. Hammerstein, vil., and Ober Hammer- 
stein, vil. Above the latter, Hammerstein, cas. ru. ro. ; for a time residence 
of Emp. Henry IV., occupied by the Swedes during the Thirty Years' War ; de- 
stroyed, 1660, by the Abp. of Cologne ; e. Leutesdorf, vil. ; w. Andernach, vil. ; 
watch tower, ro., lower end of the village was a Rom. fortress; conquered by the 
Alemanni, retaken by Julian ; burned by the French, 1698 ; ch. with 4 towers, 
1206. At the upper end of the town are the ruins of the Schloss, destroyed by 
the French, e. Low fertile hills: w. fertile plain; e. Fahr, vil.; Irlich, vil.; e. 
the river Wied ; w. the river Nette. 

e. Neuwied (noi-weed). The palace of the Prince of Wied is below the town, 
w. Weissenthurm : below the town, sq. watchtjwer. 1370 : modern ch. ; above is 
the mon. to Gen. Hoche, who here crossed the Rhine, w. Kaltenengers, vil. ; e. 
Engers, vil., where Csesar crossed, cas. ru. ; e. Bendork, vil. ; w. St. Sebastian, 
vil. : w. Kesselheim, vil. ; e. Vallendar, vil. 



526 ROUTE NO. 20. 

Niederwerth, isl., for a time the residence of Ed. III. of Eng., 1337. e. Mai- 
lendar, vil. ; w. Wallersheim, vil. ; e. TJrbar, vil. ; w. Neuendorf, vil. : e. *Ehren- 
breitstein (honor's broadstone), one of the strongest fortresses of Europe, costing 
#9,000,000. 

w. *Coblenz. See Coblenz. 

w. The palace is above the bridge of boats, e. Fort Asterstein ; e. Pfaffen- 
dorf, ril. ; rly. bridge, 2 spans ; e. Horchheim, vil. ; w. Capellen, vil. ; above 
which is 

w. **Stolzenfels, sq. and several ro. towers; probably built, 1250, by 
Abp. of Treves ; destroyed by the French, 1638 ; purchased, 1802, by the town of 
Coblenz, and in 1823 presented to Fred. Wm. IV. Restored 1836, and is now the 
summer residence of the Emp. of Germany, w. Wooded hills ; e., on the s. bank 
of the Lahn, is Oberahnstein, vil. ; ancient walls with ro. towers ; ch. with heavy 
sq. tower ; above is 

*Lalineck, cas. ; ro. towers, recently restored ; % m ^- beyond, amid a grove 
on the east bank, is Marien Church., where Emperor Wenzel was deposed by the 
4 Rhenish Electors, 1400. The day following they elected Rupert III. at 

w. Konlgsstwlil (king's seat), erected by Emp. Ch. IV., 1376, as a meeting 
place for the 4 Rlienish Electors. Here treaties were ratified and emperors 
elected ; close upon the river edge, near a single white house ; rebuilt, 1843. w. 
Rhense, vil. , large ro. tower on river bank ; e. Braubach, vil. ; above is 

e. **Marltsl>urg, cas. sq., alt. 511 ft., on an isolated peak; the only Rhine 
cas. never destroyed. Aft. tall chimney of iron mines, resembling a monument, 
w. Niederspay, small vil. ; Oberspay, peculiar style of house, e. Dinkolder, vil. ; 
wooded hills. The river makes a large turn to the west. e. Osterspay ch., with 
tall white tower, black spire ; sq. tower of an ancient fort ; above is the chateau 
of Liebeneck. River turns to s. e. Filzen, vil. ; barren hills ; opposite is 

w. *3oppard, vil. ; walls in tne interior of the town are of Rom. origin, 
outer wall of mediaeval times. Round towers at lower, and sq. tower at upper 
end of vil., ch. with 2 towers (see Conrad), e. Camp., vil. ; Bornhofen, vil. ; 
vine hills. 

e. Stcrreiihcrg, cas. ru., sq., and Lieljenstein, ca3. ru., sq., known as 
ll TJie Brothers,'''' in connection with which is the legend of "Conrad and Heinrich " 
(see Conrad), w. Salzig, vil. ; w. Weiler, vil. ; e. Kesfcert, vil.; w. *Hirzenach, 
vil., with rly. embankments in front ; e. Ehrenthal, vil. ; rocky, barren hills; e. 
Welmich, vil., ch. with tall sq. tower. Above is 

e. **Tfiurnbcrg, cas. ru., ro., derisively called " The Mouse," in contrast 
with the Cat of Kat-zen-eln-bo-gen. 

w. **Rlieiiifels, cas. ru., sq., the most extensive ruin on the Rhine, 1245 ; 
ten years later it withstood a siege of 15 months ; In 1750 was surprised and ■ 
taken ; destroyed, 1794. w. St. Goar, walled with ro. and sq. towers ; opp. is e. 
St. Goarshausen, ro. and sq. ; above is 

e. **The Katz, or New Katzenelnbogcn, cas. ru., ro., 1393; de- 
stroyed by the French, 1794. 

On either side several rly. tunnels. At the foot of the precipitous Lurlei, *450 ft. 
e., is a sunken ledge, rendering navigation difficult and dangerous, giving origin 
to the legend of Lurlei, which see. River makes several turns. 

w. *Oberwesel, Rom. Vesalia, vil., **scencry. On the walls are seen several 



ROUTE NO. 20. 



527 



email sq. towers and the chapel connected with the legend of the boy Werner, mur- 
dered in this place by the Jews, 1286, whose body miraculously floated up stream 
to Bacharach (see Seven Virgins). Large ro. tower on river bank. Above is 

w. *Scb.bnburg, cas. ru., ro. and sq. Birthplace of Marshal Schomberg. 
Destroyed by the French, 1689. Rocky, barren hills, with ledges. 

e. Caub, vil., ro tower at upper end. Above is 

e. *Gutenfels, cas. ru. sq., destroyed by order of Napoleon, 1805. See Guta. 

* Pfalz, an isl. ; erected by the Emp. of Bavaria in the 13th cent, as a 
toll-house; 

w. Stahlberg, cas. ru. sq. w. Bacharach (altar of Bacchus)^ noted for its 
wine ; ruins of the fine ch. of St. Werner, in memory of the boy Werner ; Several 
s q. towers. 

w. Stahleck ; cas. ru. sq., above Bacharach ; this castle was taken 8 times 




by the French between 1620 and 1640 ; destroyed, 1680. 
Seat of the Palatinate Counts (see Hermann), e. Lorch- 
hausen, vil. 

w. *Fiirstenberg, cas., ro., destroyed by the 
French, 1689 ; now owned by Princess Frederick, sister 
of Emperor William. Hills with vine. 

e. Loz'ch, vil., ch. sq. tower ; low ro. tower on bank ; **views. 

e. Nollingen, cas. ru., ro. ; the cliff on the river side is called the Devil's 
Ladder (see legend of). 

w. The scattered village of Nd. Heimbach. 

w. Hohneck. or Heimhurg, cas., ro., recently restored. 

w. * Sooneck, cap., sq.. at the entrance of a ravine. Built, 1015; destroyed 
by Emp. Rudolph ; rebuilt, 14th cent. ; recently restored ; owned by the Prussian 
royal family, w. Trechtlingshausen, vil. 

w. Fallseiiburg or Reicbenslein, cas. ru., ro. This haunt of Rhin« 
robbers was dismantled by the Rhenish Confederation, 1251. Ten years later. 



528 



ROUTE NO. 21. 



the owner having rebuilt and commenced again his depredations, Emp. Rudolph 
attacked and took the castle, and hung the occupants. See Liba. 

w. **Rheinstein, cas. ; several round and octagonal towers; date un- 
known, mentioned in 13th cent. ; rebuilt, 1825, by Pr. Fred, of Prussia, and now 
owned by the royal family (see Gerda). e. Assmannshausen, e. Rossel, sq. 
tower, above which is a narrow, rapid channel, called the Binger Lock. 

e. Ehrenfels, cas. ru., ro., built, 1210, by the Gov. of Rheingau; much in- 
jured by the Swedes, 1635 ; dismantled by the French, 1689. The terraced 
slopes yield the celebrated Riidesheimer wine. See Uta. 

Mouse Tower, sq., in the river ; erected in the Middle Ages as a toll -house ; 
now used as a signal station for steamers. The name is derived from the legend 
of Abp. Hatto's having been here devoured by mice. See Mouse Tower, w. On 
height small observatory with colonnade. 

w. Binge n, at the confluence of the Rhine and Nahe. Rly. may be taken 
for Darmstadt and Heidelberg. Station not far from the wharf. 

e. Rndesheim. At the lower end of the village is Bromserburg or Nieder- 
burg, a massive structure, supposed of Rom. origin ; now owned by the Count of 
Ingelheim (see Gisela). The fine scenery here terminates, the hills recede, fertile 
plains intervene, the Rhine broadens, and is filled with numerous low islands. 
Above the village of Geisenheim is 

e. *Schloss Johannisoerg, on a commanding eminence, 362 ft.; founded 
1106 as a Benedictine convent ; rebuilt, 1716 ; suppressed, 1802 ; in 1807, given 
by Napoleon to Marshal Kellerman, and, in 1816, by the Emp. of Austria to Pr. 
Metternich. The vineyards comprise 60 acres. 

On the west bank there are few villages. 

On the east, Mittelheim, Oestrich, Schloss Reichartshausen , Hattenheim, Er- 
Tbach, Eltville, Niederwalluf, Schierstein, Biebrich, the point of debarkation for 
Wiesbaden, dist. 4 mis. Petersau isl., where Louis the Pious, son and successor 
of Charlemagne, died, 840. 

Mayence. Steamboat pier, }4 ml. from station. See Mayence. 

The Rhine may be ascended to Mannheim, 5 hrs., uninteresting. 



Route No. 21. Bingen— Mayence— Heidelberg. 



81 mis. ; 3 hrs. 



Mis. | 1. Bingen 

5! Gaulsheim 

8 Gau-Algesheim 

9 2. Ingelheim 

32; Heidesheim. . . 

16 i Budenheim 

18 1 Mombach , 

21 j 3. Mayence 

26' Bischofsheim. . . 

30 j Nauheim 

32 j Gross-Gerau 

37 Weiterstadt.... 
42 4. Darmstadt 
46 5. Eberstadt 



Fares, I. CI., 9.55 m. ; II., 7.35m. 

■ 1. Steamer for Cologne. See Route No. 20. 

2. Charlemagne had here a celebrated palace, 
from which the columns of the fountain at 
Heidelberg cas. were taken. Henry IV. de- 
throned by a convocation of bishops, 1105. 

3. Stop 10 m. ; steamer may be taken for Co- 
logne, or (preferable) at Bingen. Mayence, see 
Route No. 20. x the Rhine at the confluence 
of the Main. 

4. Stop 10 m. June, for Frankfort, Nurem- 
berg, and Worms. Little of interest from May- 
ence to Darmstadt. 



81 
76 
73 
72 
69 
65 
63 
60 
55 
51 
49 
44 
39 
35 



ROUTE NO. 22 



529 



51 

55 , 

57' 
61 i 
6710 
72 



81 



Bickenbach 

6. Zwingenberg. . . 

7. Auerbach 

8. Bensheim 

9. Heppenheim . . . 
Weinbeim 

11. Ladenburg 

12. Friedricksfeld . . 

13. Heidelberg. 



30 

28 

26 

24 

20 

14 

9 

6 

Mis. 



Turenne, 1645 and 1674. 10. x 
12. June, for Mannheim. 13. 



5. e. Frankenstein, r. ; and the Alsbachei 
Schloss. 

6. Along the margin of the Black Forest. 

7. w. 2 mis. Auerbacher Schloss, founded by 
Charlemagne ; destroyed by Turenne, 1674. 

8. Unsuccessfully besieged, 1504. 

9. e. Starkenburg Schloss, captured in the 
Thirty Years "War ; unsuccessfully besieged by 

the Weschnitz. 11. x the Neckar. 
See Heidelberg. 



Route No. 22. Heidelberg— Bile. 

156 nils. ; 6 hrs. Fares, I. CI., 20.20 m. ; II., 13.40 m. 



Mis. 



1. Heidelberg 156 

Wieslock | 148 

2. Langenbr'k'n ; 141 

3. Bruchsal. ! 136 

Weingarten ; 130 

4. Durlach : . . . 125 

5. Carlsruhe I 123 

6. Ettlingen 118 

7. Muggensturm | 111 

8. Rastatt ' 108 

9. Oos (Baden) : 102 

56 10. Sinzheim 100 

58|ll. Steinbach ! 98 

60 12. Buhl | 96 

63 Ottersweier [ 93 

66'13. Achem 90 

74 14. Appenweier. . , 82 

79J15. Offenburg 77 

87 1 Friesenheim i 69 

90: Dinglingen I 66 

100 j 16. Kenzingen 56 

103 17. Riegel 53 

112 18. Denzlingen ! 44 

118119. Freiburg j 38 

1361 Mulheim < 20 

156 20. Bale Mis. 



1. June, for Darmstadt, Mannheim, Stutt- 
gart, and Bale ; usually change cars. 

2. Kislau, formerly hunting-seat of the 
Abps. of Speyer, now a penitentiary. Mingols- 
heim, place of Tilley's defeat by Count of 
Mansfeld, 1622. 

3. Stop 5 m. ; rly. to Stuttgart. 

4. Destroyed by the French, 1688, 5 houses 
alone remaining. 

5. Stop 8 m. (Charles? 7'est.) Rly. for Stutt- 
gart. Capital of Gd. Duchy of Baden ; streets 
radiate from the Schloss ; founded, 1715 : pop. 
35,000 ; contains a Palace, Hall of Art, and 
Polytechnic School. 

6. e. On a forest-covered hill. 

7. e. Black Forest. Height of Mercurius- 
berg, surmounted by a tower ; nearer Alt-Eber- 
stein, ru. of a Rom. watch-tower. 

8. Burned by the French, 16S9; the statue of 
Jupiter is seen above the walls of the barracks, 
the former palace : x the Murg. 

9. Stop 5 m. June, for Baden (e., 3 mis. dist. ; season, July, Aug., and Sept.). 

10. e. Yburg, a well-preserved old Rom. watch-tower. 

11. e. On an eminence, monument to Erwin, architect of Strasbourg Cathedral. 

12. e. Castle of Alt-Windeck. r., on mountain slope. 

13. aft. The spire of the Strasbourg Cathedral may be seen w. in the horizon. 
Station Renchen ; x the Rench. 

14. Stop 5 m. June, for Strasbourg (10 mis. west). 

15. Stop 4 m. June, for Constance — the Black Forest route. Has a statue of 
Sir Francis Drake, " the introducer of the potato into Europe, 1586." 

16. x x the Elz. 17. Volcanic mountain Kaiserstuhl ; aft. x the Elz. 

18. *View of the valley of the Elz ; bfr. e.. Hochburg, ru., destroyed by Louis 
XIV., 1689. Aft., cast, the watch-towers of cas. of Zahringen, ru.; w. broad plainst 



530 



ROUTE NO. 25. 



19. Stop 5 m. ; pop. 22,000 ; **cathedral ; little of interest from Freiburg tn 
Bale. Rly. skirts the Black Forest the entire distance, approaching the Rhine at 
Schliengen. Vosges Mts,, w., dist. Stations: St. Georgen, Schallstadt, Krotz- 
ingen, Buggingen, Schliengen, Kleinkems, x the Kander, Eimeldingen, Leopolds- 
hohe, Klein Basel. 

20. Bale. The town on the north of the Rhine, which here turns to the east, is 
c :lled Klein Basel, and on the sonth Gross Basel, or Bale. At Klein Basel luggage 
undergoes customs examination; usually change cars ; rly. diverges f or Schaff- 
hausen ; x the Rhine. Noted for mf 'g of ribbons. See Bdle. 



Mis. 

9 

181 

20 
24 
26 

29 
34 

46 
49 
53 
56 

59 



59 



50 
46 



1. Bale 

2. N. Schonthal . . 
Liestal 

3. Sissach 

Sommerau I 

4. Laufelfingen I 39 

5. 01 ten ; 35 

6. Aarbourg 33 



Route No. 23. Bale— Lucerne. * Scenery. 

59 mis.; 3 hrs. Fares, I. CI. 8 fr. ; II., 5.75fr. 

- -j g ee 2?<Ste,- on both banks of the Rhine. 

Small stations, Muttenz ; Pratteln. 

2. w. Frankendorf, on hill ; aft. Schauenburg 
cas., rri. Follow the Ergolz to Sissach. 

3. w. Cas. of Ebenrain. 

4. Tunnel \% ml. through the Jura range ; 
x the Aare. 5. Stop 5 m., usually change cars. 
June, for Zurich. 

6. Stop 5 m. June, for Berne and Geneva. 
Follow the valley of the Wigger to Wauwyl. 

7. w. Bfr. view of the Bernese Alps, the Jung- 
frau, Monch, and Eiger. 

8. Follow the shore of Lake Sempach, near 
I ! which the Swiss, through the heroic self-sacri- 
fice of Von Winckelried, gained a memorable victory over the Austrians, 1386. 
Battlefield 1)4 ml. n.e. of the town. 

9. Approach the Reuss (rois) ; tunnel under the rock of Gibraltar, reaching the 
station near the lake. See Lticerne. 



Zofingen . 
Reiden 

7. Wauwyl ...... 

Sursee 

8. Sempach 

Rothenburg. .. 
Emmenbriicke 

9. Lucerne 



30 
25 

13 

10 

6 

o 
•J 

Mis. 



Route No. 24. Lucerne— Rigi. (Summer Service.} 
By steamer to Vitznau. thence by railway. 
15 mis. ; 2i hrs. Fare, I. CL, 9 fr. 
From Lucerne (5-7.20); (8-10.40); (10.20-12.30); (11.40-2.40); (2-4.30); 
(4.40-7.& ). 

From Rigi-Kulm (7.30-10.S0) ; (11-1) ; (1.30-4) ; (3-5.30) ; (4.40-7). 

1. Take steamer from either side 
of the bridge. 

2. Take cars at the quay; finest 
views on the left. Tunnel; x the 
Schnurtobel on an iron bridge. 

3. Stop 3 m.; alt., 4,728 ft. Larg« 
curhaus. 

4. June, of rly. from Arth. 



a.m. | 

Mis.! 8.00 

10! 9.20 

9.48 

9.56 

10.15 

10.20 

]10.28 

1510.40 



1. Liiicerne 3.45 

2. Vitznau 2.50 

Freiberg 2.12 

Remiti Felsen 2.00 

3. Kaltbad 1.48 

4. Staffelhohe 1.40 

Staffel 1.30 

5. Kulm 1.20 Mis 

p.m 






~N. O VST .(?,°-** v il ?// %• 



Ssjdfia 









> Ecietas\ 



L A K & 



mmm 



XaxfUwylc 






f Stanzerliom |= ' 
'reiwi?rfe»i' / /,„.. 




<*£*£ ^ 



«y*oi 



/y* 




l|WalIea5.StSdk, % *£^?#f 












Terrcrini,-' 









SWITZEBLAND. 



532 ROUTE NO. 25. 

5. Alt. 5,905 ft., affording a series of the finest views presented by any locality 
in Switzerland, including 13 lakes, and innumerable snow-clad peaks. 

Visitors remaining at the Kulm over night to view the sunset and sunri?e 
should be well protected against cold, and be prepared for occasional disappoint- 
ment from fog. See Bigi. 



Route No. 25. Lucerne— Fluelen— Locarno— Arona. 

{St. Gothard Route.) 120 mis. ; 11 hrs. 

Leaving Lucerne, the rly. follows the w. shore of Lake Lucerne to Kussnacht, 
beneath the base of Rigi. to Brunnen ; and thence, through numerous tunnels, 
along Lake Lucerne to Fluelen. Thence it follows the narrow valley of the 
Reuss to the St. Gothard Tunnel. Emerging on the Italian side of the Alps, it 
follows the valley of the Ticino to Lake Maggiore. 

In bold engineering skill and hardy enterprise, this great work has hardly an 
equal in the world. Four times on the Italian side, and once on the Swiss side, 
where the accent is too great, the road turns, and entering the mountain, makes 
a complete spiral circuit, emerging directly above the entrance. 

The traveller is recommended to go via the Lake from Lucerne to Fluelen, 
taking the cars at that point. 

Lake Lucerne. (Summer Service. ) 

Lucerne to Fluelen, 25 mis.; 2 hrs. 5; 8; 10: 11.30; 1.45: 4.40. 

Fliielen to Lucerne, 6 ; 7.45; 11; 1.40; 2; 4.40; 0.30. 

Lucerne to Kussnacht, 6.10 ; 2; 5. Return, 7; 12: 3; 6. 

Lucerne to Alpnacn, 6.45 ; 10 ; 4.10. Return, 8 ; 12; 3 ; 5.45. 

Fares from Lucerne to Fluelen, 4.50 fr. ; to Kussnacht, 2 fr.; to Alpnacn, 2.40 fr. 

By steamboat or railway from Lucerne to Fluelen ; by rail from Fluelen to Lo- 
carno, and by steamboat from Locarno to Arona. 

**Lake Lucerne — Vierwaldstatter-See, Lake of the Four Forest Cantons, 
bordered by the Cantons of Lucerne, Uri, Unterwalden, and Schwyz, is about 25 
mis. in length, 1-4 in width, and has two bays or arms near the western extremity 
extending in either direction 5 or 6 mis. In magnificence of scenery it is unsur- 
passed by any body of water in Europe, and by but few upon the globe ; whilst 
the name and deeds of Tell add a double charm to the majestic and untamed 
grandeur of its precipitous and storm-bound shores. 

Leaving Lucerne, a succession of villas line either side for several miles. In 
front, is the Biirgenstock, n. Rigi, s. Pilatus. nr., n., Meggenhorn, a small pro- 
montory with villa, n. Altstadt, isl., with poplars. Formerly the lake terminated 
at this point. 

n. Bay of Kussnacht : s. Bay of Stansstad and of Alpnach, beyond which, in 
the horizon, may be seen the Jungfrau, Monch, and Eiger. Tanzenburg, n., on 
the point ; aft. cas. Hertenstein, ru. 

n. Weggis, a pleasant sheltered village with fruit trees, Rigi rly. may be 6een 
on the mt. side. 



ROUTE NO. 25. 



533 



n. Vilznau, landing for the rly. to the Kulm. 

The upper and Lower Nases, two promontories nearly dividing the lake, beyond 
which it is called the Lake of Buochs. 

s. Buochs, burned by the French, 1798 ; above are the Buochserhorn and the 
Stan ser horn. 

s. Beckenried, former place of meeting of the Delegates of the Four Cantons. 
n. Uersau, for 4 centuries was an independent State, with about 1,000 inhabitants. 

n. Kindlimord (i7tfunticide), the chapel so-called from the legend that here a 
poor fiddler dashed out the brains of his starving child. A black cross designates 
< the tragic spot. 

n. Brunnen, one of the most charming localities on the lake ; beyond this point 
the lake is called the Lake of UrL s. Near the point of the promontory is Schil- 
ler's Monument, a pyramidal rock rising 80 ft. from the water, bearing an in- 
scription to Schiller : 1 ml. beyond is Riitli, or Griitli, the memorable place where 
the 3 patriots met Nov. 7, 1307, and took the oath of their country's freedom from 
Austrian oppression. 

n. Tell's Chapel, said to have been erected 1388, on the spot where Tell leaped 
from Gessler's boat ; the chapel contains rude frescos of events in Tell's history. 
**Scenery. 

Flueleii. Head of the lake. 



Fliielen— Locarno. 

80 mis. ; 5 hrs. Fares, I. CI., 24 fr. ; II., 17 fr. 

From Flueleo. the St. Gothard road foilows the narrow valley of the Reuss to 
the very summit of the Pass, thence it enters the valley of the Ticino, down 
which it threads its way to Lake Maggiore. The line of the railway is essentially 
the same, with the exception of the tunnel. At Bellinzona the railway divides : 
one branch leading to Locarno on Lake Maggiore, the other to Lugano, Como, 
and Milan direct.' 



Mis. 
9, 


1. Fliieleu 

2. Altorf 


91 

89 
86 
85 
84 
83 
82 
81 
80 
78 
77 
74 
73 
72 
71 
70 
69 
67 I 


5 

6 


Birtschen 


7 


Kluss 


8 


Buchholz 


9 


Riitlenen 


10 




11 


3. Amsteg 


13 
14 
17 

18 


Intschi (2,168) ... 

Meitschlengen 

4. "Wyler 

Hubel 


19 
19 
21 
22 
24 


Wasen (2,756).... 
6. Gosclienen .... 



1. Alt. 1,433 ft. The head of Lake Lucerne. 
Steamers for Lucerne, tj, 10, 2, 4. Take dili- 
gence or railway for St. Grothard Pass to Milan. 
** Scenery. 

2. 1,466 ft. In the centre of the village is a 
statue of Tell, standing where he shot the 
apple from his son's head. At a distance of 
400 ft. is a fountain marking the place of the 
tree to which the lad was bound. The vil. of 
Burg] en, the birthplace of Tell, is near. 

3. 1,758 ft. bfr., e., the Windgelle, 10,463 ft. 
aft., e., the Bristenstock, 10,085 ft. The ascent 
of the Pass here commences. 

4. 2,661 ft. The Pfaffensprung Bridge, where 



r>u 



ROUTE NO. 25. 



24 9. Urner Loch 67 

25 10. Andermatt 67 

2711. Hospenthal 

33 ■ Cantc niera 

3512. Pass (6,936) 

3513. Hospice (6.864).. 
43 14. Aiiolo (3,868). 

47 Piotta 

48 15. Ambri 

50 16. Fiesso (3,110) ... 

51 Rodi 

5317. Mairenso 

54 18. Faido (2,366). .. . 
60 19. Giornico (1,325). 
63 1 Bodio (1,068).... 
65 20. Polleggio 



21. Biasca 
Osogna (964) 

22. Cresciano . . . 

23. Claro 

;2-*. Castione 

77; 25. Arbedo (813) | 14 

79 26. Bellinzona ... 12 
91J27. Locarno Mis. 



a monk leaped across the stream with a girl in 
his arms. 

5. 2,998 ft. *Cascade of the Rohrbach. 

6. 3,609 ft. Entrance to the St. Gothard rly. 
tunnel, terminating at Airolo, 9 mis. — the dis- 
tance by carriage road being 22 mis., and the 
elevation 3,200 ft. 

7. A defile, 2 mis. long, much exposed to ava- 
lanches. 

8. 4,593 ft. Memorable for two obstinate 
battles between the French and Russians, 1799. 

9. 4,642 ft, A tunnel 210 ft. long ; formerly 
travellers passed around on the face of the rook 
by means of a bridge hung by chains. 

10. 4,737 ft. In the valley of Uri or Urseren, 
a green, fertile, level meadow, doubtless an an- 
cient lake bed, whose waters ultimately wore 
the passage at the gorge of the Devil's Bridge. 

. ' — -! 11. 4,800 ft. Road is joined by that from the 

Fnrca Pass ; Lombard tower, ru.: e. glacier of St. Anna ; 2)4 mis. before the sum- 
mit, Rodont Bridge, 6.621 ft. *views to the north. 

12. Snow usual all the summer; e. Sasso di San Gottardo, 8,235 ft.: w. the 
Fibbia, 8,996 ft. Farther n. Pizzo di Lucendro, 9,708 ft. Several small lakes ; 
great variety of flowers in summer. 

13. Adjoining the Albergo is the Hospice, erected by the Canton, containing a 
number of beds offered gratuitously to poor travellers. Aft. % ml. x the Ticino, 
which has its source in the Sella lake on the east. 

At the first Cantoniera enter the Val Tremola, nearly two miles in length. The 
road makes a rapid descent by nearly 80 zigzags, gaining, in 8 miles, but 3 in ac- 
tual distance. Much exposed to avalanches. 

14. Italian spoken, although the boundary of Italy is below the head of Lake 
Maggiore. Entrance to the St. Gothard tunnel, completed 1882. Below A. is the 
Strettodi Stalvedro.in which a battle between the French end Russian? was fought, 
1799. w. Ruins of Lombard tower ; aft. 1 ml., w., *cascade of the Calcaccia. 

15. w. The Piz Massari, 9,062 ft. 

16. Soon enter *gorge through Mt. Piottino ; x the Ticino several times : 
*cataracts. 17. w. *Cascade of the Piumogna. 

18. Italian village ; aft. *scenery, and numerous *waterfalls ; x the Ticino 
over a cataract. 

19. Lombard fortress, r.; ch. of St. Niccold da Mira on site of a heathen tem- 
ple ; aft., w., *cascade of Cramosina. 

20. e. June, of the Brenno, below which the valley is called the Riviera. 

21. Take diligence for the Bernardiuo Pass to Coire. e. Old Romanesque ch. on 
hill. 22. *Cascades. 

23. Above is Mt. Claro, 8,760 ft., with convent at height of 2,074 ft. 

24. x the Moe'sa. 25. Battlefield of Swiss and Milanese, 1422. 

26. 777 ft. alt. In the Middle Ages was an important military post ; several ol 



ROUTE NO. 20. 535 

the castles yet remain in good preservation. Bridge of 14 arches over the 
Ticino. 

From Bellinzona railway may be taken to Lugano, and thence to Como. 

27. Take steamer for Lake Maggiore, Arona, and Milan. 

Lake Maggiore. 

37 mis. ; 5* hrs. Fare, 4.50 fr. 

From Locarno, 10.30 a.m. : 3.30 p.m. ; 12 night. From Arona, 4.30 a.m , 
9.40 a.m. ; 5 p.m. 

The 4.30 a.m. boat from Arona goes to Magadino, a few miles above Locarno ; 
returning from M. at 10.10 a.m. A boat also leaves Arona at 2.40 p.m. for Ca- 
nobbio ; leaving C. on the return at 4.30 a.m. 

Lake Maggiore, the Rom. Lacus Verbanus, is scarcely less renowned for its 
beauty than the Lake of Como ; the scenery of the Borromean Islands and the 
bay of Baveno being unsurpassed by any lake of Italy. 

w. Locarno, principal steamboat landing for the n. end of the lake, and termi- 
nus of a branch of the St. Gothard Railway ; embosomed in orange and citron 
groves, giving an appearance of great beauty as seen from the steamer. 

w. Brissago, charmingly clean and inviting ; hillside covered with fruit orch- 
ards. 

w. Canobbio, one of the earliest towns on the lake ; entrance to the Val Can- 
obbino. 

e. Luino, landing for diligence to Lugano and Lake Lugano ; popular summer 
resort, both from its beauty and salubrity. Birthplace of Luini. 

w. Cannero, a delightful village amid vineyards and groves. On the isl. adja- 
cent ru. of Cas. Mazzarda, of five brothers, brigands of the 15th cent. 

e. Germignaga, noted for its silk winding and spinning. 

w. Approaching Intra, the Strahlhorn, the Mischabel, and the Simplon become 
visible, w. 

e. Laveno, Monte II Sasso del Ferro, 5,918 ft. 

w. Pallanza, the Bay of Baveno extends 4 mis. w. 

**The Borromean Isles. Isola Madre s. side ; with terraced walks, orange and 
lemon trees (1 fr.). Isola Bella, with luxuriant tropical garden, grottoes, foun- 
tains, statues, etc. ; chateau contains a collection of pictures (X fr>)- Isola del 
Pescatori, occupied by fishermen ; and Isola S. Giovanni, n. 

* :;: Baveno, landing for the Simplon Route to Sierre and Geneva. Stresa, o- 
the mt. side, monastery, now a school. 

Arona, landing for rly. for Milan. See Route No. 44. 

Route No. 26. Lucerne— Zurich. 

39 mis. ; 2 hrs. Fares, I. CI., 6.50fr. ; II., 4.50 fr. 

1. Passing the tunnel, diverge to the e. ; x 
the Reuss and along the Rothsee. 

2. During the dissensions of 1S47 several 
skirmishes occurred at the covered bridge. 

3. x the Lorze, follow the margin of Lake 
Zug. 



Mis. 
5 
8 


1. Lucerne 

2. Gisikon 


39 
34 
31 

28 
25 
23 

211 


11 
14 


Rothkreuz 

3. Cham 


16 


4. Zug 


18 





536 



ROUTE NO. 27. 



20 
22 
94 


Hedingen 


19 

IT 

15 ; 

13 1 
9 
6 

1 

Mis. 


26 
30 
S3 


Bonstetten 

Urdorf 


38 


6. Altstetten 


39 









4. Stop 3 m. On the n. shore of Lake Zug 
Train returns a distance on the same line, x 
the Lorze ; e. the Aeugster Berg, 2,723 ft. 

5. Tunnel nearly % mile. 

6. e. The Uetliberg, around which the rly. 
makes an extended curve. 

7. See Zurich. 



Route No. 27. B&le— Zurich. 

56 mis.; 3 hrs. Fares, I. CI., 9.20 fr.; II., 6.50 fr. 



Mis. 
8 
5 
7 
11 
12 
17 
19 
21 
23 
26 
29 
31 
36 
38 
41 
43 
46 
49 
51 
53 
56 



1. Bale 

Muttenz . . . 

Pratteln 

Augst 

2. Rheinfelden 

Mohlin 

Mumpf 

Stein 

Biken 

Frick 

Hbrnussen . . 

Effingen 

Biitzenegg.. . 

3. Brugg 

4. Turgi 

5. Baden 

Wettingen. . 
Killwangen. 

6. Dietikon. . .. 
Schlieren. . . 
Altstetten. . . 

7. Zurich... . 



56| 

53 : 

51 J 

49! 

45 j 

44 i 

89 ' 

37 

35 

33, 

30 

27 | 

25 

20! 

18; 

15! 

13; 

10 

r 

5 

3 

Mis. I 



1. The rly. follows the Rhine eastward for a 
distance, and then enters the rugged country of 
the Jura range. 

2. Rom. Augusta Rauracorum. During the 
Roman period, and the Middle Ages, one of th6 
most important fortresses of Central Europe. 
Many times besieged and taken : destroyed by 
the French, 1744. 

3. Stop 4 m. 

4. Stop 2 m.; usually change cars. 

5. The Rom. Aquce Helvetia, a favorite re- 
sort ; residence of the Hapsburgs in the Middlo 
Ages. 

6. 1799 the French made the passage of th« 
Limmat and defeated the Russians. * Scenery. 

7. See Zurich. 

Rlys. for Coire, Lucerne, and Constance 



Route No. 28. Zurich— Coire. 

Steamer may be taken from Zurich to Rapperschwyl ; 2 hrs* 

Fares, I. 01. , 1.90 fr.; II., 1.25 fr. 

The Lake of Zurich. 

2 3 J> 8_ J.0 12 13 15 17 18 2 

4~6~7 9 11 14 16 19 



Zurich. _' 

1 

1 Wollishofen. 

2 Zollikon. 

3 Kussnacht. 

4 Ruschlikon. 

5 Erlenbach. 



9 11 

6 Thalwyl. 

7 Oberreiden. 

8 Herrliberg. 

9 Horgen. 
10 Meilen. 



14 16 

11 Au. 

12 TJetikon. 

13 Mannedorf. 

14 Wadenswyl 

15 Stafa. 



Rapperselvwyl 



Railway. 
From Zurich to Coire, 81 mis. ; 4 hrs. 
II., 8.50 fr. 



16 Richterswyl. 

17 Kehlhof. 

18 Uerikon. 

19 Freyenbach. 

20 Schirmensee. 



Fares, I. CI., 12 fr.; 



POJTE IJO. 29. 



037 



Mis. 1. Zurich 

3 2. Oerlikon 

6 Wallisellen . . . 
9 Diibendorf 

11 Schwerzenberg 

12 Nftnikon 

14 3. TJester 

16 A-athal 

18 Wetzikon 

22 Bnbikon 

24 4. Ituti 

£9 5. Rapperschwyl . 
34 6. Schmerikon . . . 

36 7. Ueznach 

37 Kaltbrunn 

42 8. Schanis 

44 9. Ziegelbr'ucke.. 

45 10. Wesen 

49 Miihlehorn 

52 11. Murg 

54 Unterterzen. . . 
57 12. Wallenstadt. . . 
59 13. Plums 

68 Mels 

64 14. Sargans 

69 15. Ragatz 

71 ; Maienfeld 

74 1 16. Landquart 

7617. Zizers 

81118. Coire 



81 
78 
75 
72 
70 
69 
67 
65 
63 
59 
57 
52 
47 
45 
44 
39 
37 
36 
32 
29 
27 
24 
22 
18 



I. See Zurich, x the Sihl and the Limmat ; 
tunnel % mile. 2. x the Glatt. 

3. Mediaeval castle. 4. Forest. 

5. Stop 5 m. Station of stmr. to Zurich ; x 
the Jonen-Fluss ; w. nunnery of Wurmspach ; 
rly. near Lake Zurich. 

6. Grynau, sq. tower on the Untere Buchberg. 

7. e. Monastery of Sion. 

8. Skirmishes between French and Russians, 
1799. *w. view of the Valley of G-larus. 

9. Tunnel ; w. snow peaks of Wiggis ana 
Glarnisch. 

10. Stop 5 m. June, for G-larus ; at the west 
end of the Wallensee, 12 mis. long, 2 wide, one 
of the finest Swiss lakes. Rly. skirts its entire 
length. 9 tunnels ; x the Etcher Canal. Opp. 
side of the lake are the Bayerbach and Seren- 
bach waterfalls. *Views east. 

II. *Viewof the lake ; opp. is the Churfirsten, 



\l i 6,890 ft. 

10 ! 12. At e. end of the Wallensee. Enter the val- 
^ | ley of the Seez ; w. ruins of castle Graplang. 
Mis. ' 13. e., on height, pilgrimage ch. of St. 
. ' ! Georgen. 

14. Stop 3 m. ; sometimes change cars. Enter the valley of the Rhine. 

15. Opp., on the summit of the Flascherberg, are remnants of fortifications. Thi3 
pass was fortified by Emp. Constantine against the barbarians. Cas. of the Tog- 
genburg. Recently Ragatz has become one of the most popular summer resorts in 
Switzerland — the visitors numbering 50,000 annually. 2% mis. dist. is the cele- 
brated Bad Pfaffers, and the **Gorge, one of the most remarkable of the Alps. 

16. Confluence of the Landquart and Rhine ; w. the Grauhorner, 9,341 ft. 

17. w. the Calanda, 9,213 ft.; e. the castles of Krottenstein, Leichtenstein, and 
Haldenstein. 

18. The Rom. Curies Ehcetorum ; pop., 7,500. The cathedral dates from the 
8th cent.; the chapel of the Episcopal pal., within the walls of the Rom. town, is 
among the most ancient Christian edifices known. Terminus of the rly. } take 
diligence for the Furca, Bernardino, and Spliigen Passes. 

The Romansch, a Latin dialect, is still spoken here. 



Route No. 29. Coire— Como. {The Splugen Route.) 



By diligence, from Coire to Colico. Leave Coire at 10 a.m. ; 11 p.m. 
Colico at 1 p.m. ; 8.30. p.m. 



Leav« 



Mis. 



72 mis.; 15 hrs. Fares, Coupe, 32 fr.; Interior, 26 fr. 

1. Coire. See Route No. 2S. Take rly. for 



1. Coire (1,935) 

2. Ems 

3. Reichenau .... 



72) 

69 1 „. 

gg ; Zurich. 



538 



ROUTE NO. 39. 



8 

m 

13 
14 
15 
16 
17 
18 
18 
22! 
23 1 



Bonaduz(2,14fi).. 

4. Rhaziins (2,126).. 

Rothenbrun'n 

Realta 

Luvreu 

5. Katzia (2,185).... 
Cas. Tagstein 

6. Thusis (2,447).... 
Verlorne Loch. . . . 

7. Rongellen 

8. *Via Mala 



Zillis (3,061) 

I 9. Donat 

24 1 Pigneu 

25,10. Andeer (3,212) . 
26 11. Barenberg 

J12. *Roffna Ravine. 
29 Schmetz 



2. Cas. of Hohenems, r. x the Rhine 85 ft 
above the waters. 

3. Confluence of the Hinter-Rhine and Vor- 
The Chateau near the hotel con- 



64! 
63 j 
00 ; 
59 I der-B,hine. 



31! Ruli 

33 14. Spliieren (4,776) ... . 

35' N. Staffel 

361 Rhazuns 

38' Berghans (6,677) . . 
40 15. Spliigen P. (6,945) 
40i 1st Cantoniera ... 
4116. Dogana(6 247).... 



47 
46 

43 

30 i 13. Sassaplana 42 

' 41 

39 
37 
36 
34 
32 
32 
31 
31 
30 
29 
28 
26 
24 
23 
21 
21 
20 
19 
18 
17 
16 
15 
14 



411 

42| 
43; 
44, 
4617. 

48! 



Piano d 1 Casa . 
2d Cantoniera. 
3d Cantoniera. 

Mostaccio 

Pianazzo. 

AlleCorti 



49 



18. C. Dolc'o (3,553) 



Prestone . 
Vho 

Cimaganda 
53)19. Gallivaggio . 
54 1 Martega. . . 
55' S. Griacomo 



56 20. Ugia 

57 21. Chiav'a (1,040).. 

58 Prata 

59 Malaguardio 

60 Porettina 

61 Sommaggia j 11 

63 22. Riva I 9 

72 23. Colico (722) Mis. 



tains some mementos of Louis Philippe, who 
sought an asylum here in 1794, and taught a 
school under the name of Chabot. 

4. * Views. Chateau of the Vieli family on 
an elevation. 

5. n. is the Trinseihorn, 9,934 ft. ; the Rin 
gelspitz, 10,695 ft.; e. Statzerhorn ; St. Michel, 
10,371 ft.; s. Piz Curver 9,761 fb. 

6. Rom. Tusaun; the cas. of Hohen-Rhaetien, 
on the banks of the gorge, is the oldest in 
Switzerland, B.C. 587. 

7. *Views. 

8. **One of the most celebrated gorges of the 
Alps ; the old bridle-path was but 4 ft. wide 
frequently overhanging the torrent below ; the 
present road was constructed 1822, cross the 
stream 3 times in the gorge. Enter the valley 
of Schams. 

9. Cas. of Fardiin, r. 

10. Tower of Castellatsch. 

11. Ruins. 12. 3 mis. long, x the Avereer- 
Rhein ; numerous *waterfalls. 

13. A rocky passage. 

14. June, of the Spliigen and St. Bernardino 
routes, the last village before making the as- 
cent of the Pass. 2,200 ft. ascent are now 
made in 7 mis. with numberless zigzags. 

15. Alt. 6,945 ft.; boundary line of Italy and 
Switzerland ; stone e. : w. the Tambohorn, 

la j 10,748 ft. ; e. the Surettahorner, 9,925 ft. This 
12 I pass was used by the Romans. 

16. In a broad valley, apparently an ancient 
lake bed. The old road, to the w., was much 
exposed to avalanches. In 1800 the army of 



G-en. Macdonald making this passage in Dec. was here overwhelmed with snow, 
sausiug enormous loss of life. Many zigzags and tunnels. 

17. **Palls of the Madesimo, 700 ft., seen from the roadside. * Views. Zig. 
sags. On the face of the ledge, e. side, is an inscription recording the date of tha 
completion of the road. 

18. Several detached groups of hamlets. Beyond, is another inscription on the 
rock, relating to the construction of the road. 

19. Ch. with slender spire ; chestnut forests. 

20. Zigzags. Vineyards and luxuriant vegetation. 

21. Rom. Clavenna. Alt., 1,040 ft. On the Maira, a little above its junction 



ROUTE NO. 29. 539 

with the Ticino — quaint and uninviting. The castle in the village is noted for 
the numerous sieges it has undergone. 

22. Lake Riva ; road follows the shore to Colico ; x the Adda ; ruins of the 
Spanish cas. of Fuentes. 

23. On Lake Conio. Terminus of the diligence route ; take stmr. for Como 
and Milan. 

Lake Como. Colico — Como. 
30 mis. ; 4 hrs. Fare, 4.50 fr. 

Leave Colico at 3.30 a.m.; 6.35 a.m.; and 3.20 p.m. Leave Como at 8 a.m.; 9.55 
a.m.; 3.40 p.m. 

The Lake of Como, deeply imbedded in the Alps, with its shores and mountain 
slopes dotted with towns and villas, and rich in tropical vegetation, though lack- 
ing in the grandeur of Lake Lucerne, is yet esteemed one of the most beautiful 
lakes on the globe. It is about 30 mis. in length, 1 to 2 in width, and nearly 
2,000 ft. in depth. 

e. Colico, northern end of the lake, landing for the Spliigen Route. 

w. Gravedona, the largest village on the lake. Villa of Cardinal Gallio with 
4 towers. 

w. Musso ; cas. of Musso on the height. 

e. Dervio, at the mouth of the Yarrone. Above are Mts. Legnone, 8,566 ft.; 
and Legnoncino, 4,951 ft. 

w. Rezzonico, ruins of a fortress. 

e Bellano, at the mouth of the Pioverna. Mt. Grigna, 7,254 ft. 

w. II Sasso Rancio, "the orange rock." 

e. Gittana, landing for Regoledo, a water-cure, 5C0 feet above the lake. 

w. *Menaggio, landing for Lake Lugano. Diligence daily at 11 o'clock, s. 
Villa Mylius. 

e. Varenna ; >£ ml. s. is the Fiume Latte, or Milk Brook, with cascade of 1,000 
ft. fall. 

w. *Cadenabbia ; *Villa Carlotta. Above is S. Martius ; dist. Monte Crocione. 

e. *Bellaggio, on the point between the two arms of the lake, the eastern being 
called Lake Lecco. Stmrs. leave Bellaggio for Lecco at 10.30 a.m. and 6. p.m. ; from 
Lecco at 8 a.m. and 3.30 p.m. One of the most charming localities on the lake. 

e. Villa Melzi, seat of the Vice-President of the Ital. Repub., 1802. Near Sala, 
w., is the isl. of Comacina, with email ch. 

w. Argegno, at the mouth of the Intelvi Val. 

e. Above Nesso is Piano del Tivano, 3,742 ft. 

w. Laglio, with villa Antongina. 

w. Carate. with villa Colobiano, red and green : also a pyramid to Joseph 
Frank, physician ; dist. Mt. Bisbino, 4,400 ft. 

w. Moltrasio, * cascade. 

e. Pliniana, so named from a spring near by, mentioned by Pliny. 

e. Torno, on a point ; surrounded by numerous villas. 

w. Raimondi, the largest villa on the lake. Adjacent is villa d'Este, once oc» 
cupied by Queen Caroline, consort of Geo. IV. of Eng. 

e. Villas Taverna, Pasta, Taglioni, the celebrated danseuse, and Napoli, castel- 
lated. 

♦Como, take rly. for Milan ; station 1)4 ml. from the quay. See Route No, 45. 



540 



ROUTE NO. 30. 



Route No. 30. Lucerne— Interlaken ( Via the Bmnig). 

Lucerne to Alpnach-Grestad, by steamboat ; thence to Brienz by diligence ; 
Btmr. to Bonigan ; and rly. to Interlaken. [Carriages may be taken for the entira 
route, for parties of four or more, at slight additional cost.] 

By diligence from Lucerne for Brienz at 6.30-3 ; 10-6. 

From Brienz for Lucerne, 6.30-1 ; 9-4; 12-7. Distance, 37 mis. Fares, Coupe, 
13 fr. ; Interior, 11 fr. 

1. By steamer, passing succes- 
sively on the w. bank, the cha- 
teaux Tribschen, Stutz, St. Nik- 
lausen; the villages of Kramer- 
stein, Kastanienbaum ,' s. at the 
foot of the Biirgenstock, Kehr- 
siten, and Huttenort ; curhaus 
high above. 

2. Square tower erected, 1308, 
as a defence against the Austri- 
ans. Enter the Alpnacher See 
t h r o xi g h the Acherbri'icke, or 
drawbridge. 

3. Steamboat landing ; take 
diligence. 

4. Wide fertile valley. Near, 

n., was the famous " Slide of Alpnach,"' a huge wooden trough 8 mis. in length, 
for sliding down the timber from Pilatus. 

5. Genuine Swiss village ; pop., 4,000; three mis. dist. is the hermitage of St. 
Nikolans von der Flue, through whose influence the dissensions of the Federal 
Assembly, 1482, were harmonized. The ascent commences. Lake Sarnen, 4 mis. 
°y IX- Fine views of lake and mountains to the north. 

6. Church contains the bones of St. Nikolaus. 

7. Village between lakes Sarnen and Lucerne ; considerable portion of the vil- 
lage destroyed by an inundation, 1629 ; the barrier made by the debris formed, a 
lake, which was drained again, 1759. 

8. Lake of Lungern, 1)4 ml. long. 

9. Usually change horses. Stop a few minutes. 

10. Beyond the Pass (Hotel Briinig), come into view **the Valley of the Aare 
from Meiringen to Brienz, **and an extended panorama of the Bernese Alps : 
(left to right) the Engelhorn, Wetterhorn, Schreckhorn, Finsteraarhorn, and 
Jungfrau. In front, the falls of the Oltschibach ; to the 1., fall of the Reichen- 
bach. Road winds down through numerous cuttings in the overhanging rock. 
Pass the small villages of Wacht, Brienzwyler, Balm, and Nacht. 

11. Lake Briene. Take steamer ; fare 2 fr. Village noted for wood-carving. 
Small boat may be taken for the evening illumination of **Giessbach Falls, 1)4 fr. 



Mis. 


10.20 
a.m. 

12.00 
1.00 

4.00 
arr. 
6.00 


1. Lucerne 

Steinbach 


4.00 
p.m. 
arr. 

3.00 
1.00 

12.00 

a.m. 

9.00 


37 

27 
26 1 
24 i 
23 
22 
21 

20 
16 
14 
11 
9 
Mis. 




Ratzloch 


10 


3. Stad 


11 




13 


Schlieren 


14 




15 
16 

17 


5. Sarnen (1,630) ... 
Wyssenbach 

6. Sachseln. 


21 

93 


7. Giswyl (1,800). , . 

8. Burglen 


26 

28 
37 


9. Lungern (2,165)... 

10. Pass (3,395) 

11. Brienz (1,857)... 



ROUTE NO. 31. 



541 



Lake of Brienz. Fare, 2 fr. 



Brienz, 



East. 

1! 



Ebligen, 
Winkel, 
Qberried, 



Niederried, 
Schadburg, 
Mossain, 



Ringgenberg, 11 



2 G-iessback. 



6 Iseltwald. 

7 Senegg. 



The Lake, 7 mis. in length and 2 in width, ia 
surrounded by precipitous mountains, whose 
barren sides give evidence of the constant slides 
to which they are subject. Depth, nearly 
2,000 ft. 

1. Steamboat landing ; take diligence for Lu- 
cerne and Meiringen. 

2. Landing for the Falls; Inclined railway 
to the hotel ; 1 fr. The Terrace commands a 
full view of the Giessbach. **The Falls are 
broken into seven cascades by the projecting 

rocks, making in all a descent of 1.14S ft. to the lake. 

**The Illumination of the Falls every evening from June 15 to end of Sept.; 
guests 1 fr. first evening only ; visitors 1% fr. Recently a popular resort. 

8. Aft., cas. Ringgenberg, ru., and an old tower on an isolated hill. 

12. Steamboat landing ; take cars (10 min.) to Interlaken. 

Interiaken, more noted as a convenient rendezvous for tourists than for any spe- 
cial beauty in itself or its scenery. Situated on the low land between Lakes 
Brienz and Thun, and about a mile from either (see Interlaken). 



12 Bonigan. 
West. 
Interlaken. 



Route No. 31. Interlaken— Berne. 

Rly. to Darligen ; steamer to Scherzligen ; rly. to Berne ; 3 hrs. 
Lake of Thun— 10 mis. 765 ft. deep. Fare, 2 fr. 



East. 
Interlaken, 1 



Neuhaus. 

Kiiblebad, 

Sundlaunen, 



Leeren, 



Merligen, 
Ralligen, 

Gonten, 

Oertli, 

Oberhofen, 
Hikerfingen, 



Than, 



12 

13 

15 

17 

191 
20 



2 Darligen. 



6 Herbrig. ' 

7 Leissigen. 

9 Kralligen. 

10 Burghiibel. 

11 Spiez. 



14 Moos. 
10 Ghei. 
18 Einigen. 



24 

West. 



21 Gwatt. 

22 The Aare. 

23 Scherzligen. 



2. Steamboat landing. Take rly. for In- 
terlaken, and stmr. for Berne. 

3. The old landing place of the stmrs. 

7. Above, is the Morgenberghorn, 7,385 ft. 
9. Above, is the Beatenberg. 

13. The Ralligstocke, 4,900 ft. ; and the 
Sigriswyler Rothhorn, 6,736 ft. 
12. Above is Niesen, 7,763 ft. 

19. Above is the Stockhorn, 7,195 ft. A: 
the stmr. reaches the lower end of the lake, 
in the direction of the upper end, may be 
seen (right to left) in order, the Jungfrau, 
Mi'mcn, Eiger, Schreckhorn, and the Wetter- 
horn. 

24. s., *Schloss Schadau ; n., Bachigut. 

25. Landing of steamer; take rly. for Bemu 
Take stmr, for Interlaken, 



542 



ROUTE NO. 31. 



Mis. 

1 

3 

5 

8 

9 

13 

17 

19 



Railway, 

19 mis ; 1 hr. 



Scherzligen 

Thwn 

Uttigen 

Reisen 

Miin?ingen 

Rubigen 

Giimligen 

Ostermundigen . 
Berne 



Scherzligen (Thun). Berne. 

Fares, I. 01., 3.15 fr.; II., 2.30 fr. 

1. Steamer landing for Lake Thun ; rly. ter- 
minus. 

2. x the A are. In favorable weather the 
line presents, s., numerous fine views of the 
Bernese Oberland. 

3. On approaching Berne, s. *view of the city 
and *Alps. Pass the Wyler Feld, or drill- 
grounds and Botanical Gardens ; x the Aare ; 
*view of Alps, s. 4. See Berne. 



19 

18 

16 

14 

11 

10 

6 

2 

Mis. 



Route No. 32. Bale— Berne. 

67 mis.; 3 hrs. Fares, I. 01., 10.C0 fr. ; II., 7.45 fr. 



Mis. 1. B&le 

25 2. Olten 

27 3. Aarburg 

30 Niederwyl 

33 Murgenthal .... 

35 Roggwyl 

38 Langenthal 

40 Biitzberg 

43 4. H'buchsee 

45 Itiedwyl 

49 Wynigen 

52 5. Burgdorf j 15 

55 Lyssach ! 12 

56 Hindelbank 11 

601 Schonbiihl 7 

63! Zollikofen ! 4 

67! 6. Berne Mis. 



67 
42 
40 
37 
34 
32 
29 
27 
24 
22 
18 



1. Elys, to Constance and Heidelberg. Cus- 
tom-house. 

2. Stop 10 m.; usually change cars. 

3. June, for Lucerne. Town almost wholly 
consumed by fire, 1840 ; w. castle, 1660, for- 
merly residence of the governors, and a state 
prison, now an arsenal. 

4. Stop 3 m.; usually change cars. June, for 
Neuchatel and Paris. Tunnel; x the Grosse 
Emme. 

5. Memorable as the place where Pestalozzi 
established his school, 1798. 

6. Bfr. B., w., cas. of Reichenbach ; pass the 
Wyler Feld, or drill-ground ; *view of the Ber- 
nese Alps ; x the Aare. 



See Berne. Rlys. for Lausanne and Interlaken. 



Route No. 33. Berne— Lausanne. 

61 mis. ; Si hrs. Fares, I. CI., 10.95 fr. ; II, 7.85 fr. 

1. Rly. for Interlaken, Bale, and Paris. 

2. x The Sense, the boundary of Berne and 
Fribourg. 

3. Stop 3 m. The viaduct of the Sarine, 
260 ft. high, % mile long. 

4. Stop 5 m., Ger. Freibtirg ; on a promon- 
tory of the Sarine. Noted for its great organ, 
supposed to be the largest ever constructed— 67 

| stops and 7,800 pipes ; played every evening at 



Mis 


1. Berne 


61 

58! 
55 | 

52 | 
49 1 
45 | 

41 
37 
84 i 
32 1 
31 j 
28 I 


8 


Biimplitz 


6 

9 

12 

16 


Thorishaus 

2. Flamatt 

3. Diidingen 


90 




94 




27 




29 




30 
S3 





3S.B The Number* indicate, 

the {aniens .• 

__ Railways 



L 










/so/ 



4 






"faulhi, 



'acfien , 



•f*'fafer6rttr 



Ro,^Jj A \ 



hiD^hf^ 



i5^^^^^^S£S5^^^1:#V^ 












Y/VT *»- 

7*a 






'olefin. *r*''Jfft 



J'hoj \ y 



'ifcJmadZya*} 



jit&ej-tuiU*' 



SWITZ 



- FrjF.iiicMafin *V/ v 



\Bj^f&d< 






fctfMfr/r/i 






iOSolrwvz 



'-.that 



■S'-v 








_ 18 **p/ lfe\ ' 



'^-nvbsJ¥- 





1 . Aroovic 

2 . Appear oil . 
o . FJrilr . 

4 • Bcrup , 

.». Frihimi-i^. 

*7 . (Il.irit*. 

O. CriHonfl. 

*) . Liioornc . 

10. Neucltwtol , 

> ;J . Srbaffouso, 

1 •> . Sclmy* . 

I 4. Soletire. 
1 .'». TeHsin. 
IO. Tliur(i«ivi<- 
17: UnterCvaJfU 

0. Lri. 
g; Valais. 
. Vatul . 

1. Zn», 
2 . Zurich. 




Jtf" 



:♦' 



TO" 



0/ilibtfui m 



3* 



7[hasiJ\_ 

ditdcer 

Ju/ierf 



Chute- <le'ta> \^y 
■tftnmttf 



tr0Krcrnp ne , 






>B>sllia/oua 



■^^v ^^owrfj-, 





J2nrin;<> 






font/rio- 




is?. 



A/M ,LnoaU 



If'Cencrc , 

1^* C>nw 

CanuriatAt \t^ 



J) Y 



East. 



ROUTE NO. 34. 



543 



36 5. Roraont 25 

39! Siviriez ^2 

41 1 Vauderens \ 20 

46 6. Rue 15 

48 Palezieux 33 

541 7. Chexbres 7 

56 Grand Vaux 5 

59 La Conversion 2 

61 8. Lausanne Mis. 



tains ; viaduct of nine arches. 
Rhone valley (see Lausanne). 
To Geneva. See Route No. 



dusk, 1 fit. The Suspension Bridge, 900 ft. long, 
at an elevation of 168 ft. 

5. Stop 3 m. Walled town on an eminence ; 
schloss 10th cent. At intervals may be seen in 
the distance, e., the Moleson, 6,578 ft. 

6. * View ; turreted castle ; x theBroje. 

7. Soon after emerging from the tunnel, 
**view of Lake Geneva and adjacent moun- 

8. Stop 10 m. June, of rly. from the Upper 



34. 



Route No. 31 Geneva— Brieg (breeg). 
130 mis. ; 9 hrs. Fares, I. CI., 25.85 fr.; II., 17.70 fr. 

1. Boat may be taken at 6.30 A.m. for Ville- 



Mls. 

& 

21 

aui 

37 
43 
50 
52 
54 
56 
62! 



1. Geneva 130 

2. Coppet I 121 

3. Nyon I 115 

Rolle 109 



4. Morges 

5. Lausanne. 
Cully 

6. Vevey 

7. Clarens 

8. Veytaux 

9. Villenenve. . . . 
Aigle 



65 10. Ollon. 



67 11. Rex 

71 12. St. Maurice. 

13. Evionnaz . . . 

7S 14. Vernayaz . . . 

81 15. Martigny . . 



100 
93 
87 
80 
78 
76 
74 
68 
65 
63 
59 

52 

49 



Sax les Bains 44 



neuve, at the upper end of the lake, in time tor 
the train passing Villeneuve at 11.25. 

2. Home and tomb of Necker and Mad. de 
Stael. 

3. Castle with 5 towers, 12th cent. Prangins, 
chateau of the Bonapartes. 

4. s. Mt. Blanc may sometimes be seen be- 
tween the mountains nearer the lake ; x the 
Venoge. 

5. Stop 10 to 20 m. June, of rly. for Berne. 
See Lausanne. 

6. One of the most charming vi'.lages on the 
lake, commanding a view of unsurpassed beauty. 

7. " Clarens ! sweet Clarens, birthplace of 
deep love." — Byron. 

8. The Castle of Chillon is upon a rock 60 ft. 
from the shore, with which it is connected by a 
drawbridge ; supposed to have been built prior 
to fc'00 ; fortified by Peter of Savoy in 13th cent. 
Now used as an arsenal. 

9. Landing of steamer from Geneva. Follow the Rhine to Sierre and Brieg. 

10. Rom. tower, 60 ft. in height. 

11. Arched bridge of 15th cent.; 70 ft. span ; x the Rhone. 

12. Stop 10 m. The Abbey is reputed to be one of the oldest this side the 
Alps ; 4th cent. Aft., Chapelle de Verolliaz, where 6,000 soldiers of the Theban 
Legion suffered martyrdom. 

13. Desti*oyed by a stream of mud from the mountain in 563. s. *Fall of 
Pissevache. 

14. Route to Chamonix. Aft., 1 ml., *Gorge du Trient, s. 

15. Route to Chamonix and St. Bernard. 

16. n. On height eas. of Tourbillon, 1294 ; burned 1788 ; below, cas. of Valeria, 
now a seminary for priests. 



S6 
97 16. 

107 

116' 
1251 

130 17. 



Sion 

Sierre 

Loueche 

Tourtemagne 

Visp 

Brieg 



33 
23 

14 



Mis. 



544 



ROUTE NO. 35. 



17. Terminus of the railway. Take diligence for the Simplon Road to Arona 
and Milan ; also diligence for the Upper Rhone Valley, the Rhone Glacier, th» 
Furca Pass, Andermatt, and the St. Gothard tunnel. 



Route No. 35. Brieg— Arona. {The Simplon Road.) 

By diligence ; 75 mis. ; 16 hrs. Fares, 35 fr. ; 26 fr. 

Brieg, 4.45 a.m. and 10.30 a.m. Arona, 4.15 a.m. and 11.50 p.m. 

This road was constructed un- 
der Napoleon I., 1800-1 8C6. 

1. 2,244 ft. At junc. of the Sal 
tine and Rhone. Pop. 1,100 Cas. 
Stockalper, 4 towers. Furca road 
continues up the Rhone valley; 
the Simplon turns southward up 
the valley of the Saltine to the 
summit of the Pass. 

2. 3,559 alt. : 2d Refuge, 4,334. 

3. x the Canter. Road returns 
on opp. side of the valley — much 
exposed to avalanches. 

4. 5,006 ft. ■ 3d Refuge. In 
1801 the Valais here met and 
routed a greatly superior force of 
Italians, x the Frombach ; aft., 
1 m., x the "Weissbach. Forest. 
4th Refuge. 

5. Gallery 100 ft.; *view of the 
Rauthorn and Raut-Glaciers. 

6. 6,460. Road describes an 
Immense curve to the e., passing along the face of Monte Leone; much exposed 
to avalanches ; passage made beneath the glacier stream by tunnel. Befugex 
frequent. **View to the n., embracing the Rhone Valley, the Bernese Oberland, 
and Aletsch Glacier. Brieg is seen below (near by ! ). 

7. Large building, e. Travellers kindly received, e. Above is Mt. Leone, 11,- 
696 ft. Open valley — probably a lake bed. 

8. Old Hospice below, w., now occupied by shepherds, w. The Rauthorn, 
10,463 ; Raut Glacier. 

9. x the Krummbach ; x the Am Senk bridge ; w. Rossboden Glacier. 

10. Stop 15 m., 4,856 ft.; x the Lbwenbach; enter the Laquinthal ; x the 
Krummbach. 

11. Gallery of Algaby ; **ravine of Gondo ; x the Diveria, **Gallery of Gondo. 
See Swiss Guide. Cascade of the Alpienbach. **Scenery. 

12. 2,118 ft. Last Swiss v.; % ml. aft., e. side, is the boundary stone. 

13. First Italian town. Customs examination. 

14. 2,175 ft. x the Val Cherasca ; village of Trasquora. 



Mis. 


4.45 
dep. 

7.30 

10.30 

12.20 

noon. 

2.30 


Schlucht 


8.40 

4.00 

1.00 
a.m. 
10.00 


75 

72 
68 
66 
62 
61 
60 
59 
58 
55 
54 
52 
49 
47 
45 
38 
36 
31 
28 
25 
23 
21 
19 
13 
12 
Mis. 


3 

7 


2. 1st Refuge ... 


9 




13 




14 
15 
16 


Pass (6,594 feet)... 


17 

•?o 


8. Hospice, old 

9. Esrgen 


9,1 




23 
£6 

28 
30 


11. Gsteig (4,042). ... 

12. Gondo 

13. S. Marco 

14. Iselle 


37 
39 


15. Crevola 

16. Domo 


44 
47 
50 
52 
54 
56 
62 
63 
75 


19. Fariolo 

21. Arona, 







ROUTE NO. 36. 



545 



15. Gallery of Crevola ; 2 ra. aft., the village of C; x theDiveria; bridge 100 
ft. high. Enter Val d' Ossola ; along the Toce. 

16. 1,000 ft. Pleasant village; 1,000 pop. Stop 80 m. Beyond villa x the 
Antrono — near Vogona x the Toce. 

17. x the Toce. 18 Cas. e., ru. The quarry, n., whence the stone for the Ca- 
thedral at Milan was obtained. 

19. Quarries whence the stone columns of St. Paul's, Rome, were obtained. 

20. By diligence or boat to Arona. Diligence follows the lake shore. * Views 
of Lake Maggiore and the Borromean Islands. 

21. Diligence leaves Arona for Sierrc at 12 night. 98 mis.; 20 hrs. 
Take rly. for Milan. See Route No. 44. 



Route No. 36. Geneva— Chamonix. 

50 mis. Fares, 21 fr. ; return 31 fr. 

By diligence from Geneva, 7 a.m.; 9 hours. 

From Chamonix, 7 a.m.; 7 hours. 

The road follows the valley of the Arve the entire distance from Geneva to 
Chamonix — at first along a broad level plain and farther on through a narrow 
winding gorge. 

1. Boundary between Switzerland and 
France. 

2. Alt. 1,384 ft.; w. dist., chateau of Etram- 
biere, with 4 towers ; x the Menoge. 

3. Aft., Chateau de Pierre ; e., on hillside, 
Chateau Villy. 

4. 1,361 ft. e. On height, 2 ruined towers of 
Cas. Faucigny. *View w. 

5. 1,460 ft. w. The Brezon, 6,100 ft.; e. the 
Mole ; x the Arve. Mon. to King Ch. of Sar- 
dinia, 72 ft. high. Valley becomes narrower. 
June, of diligence routes from Geneva, Cham- 
onix. and Annecy. Railway to Geneva and to 
Annecy. 

6. Change horses, e. Cas. Chatillon. 

7. 1,607 ft.; inhabitants engaged chiefly in 
watchmaking ; x the Arve. 8. Aft., two can- 
nons beside the road for making echoes ; 1 fr. 

9. e. Aiguilles de Varens, 8,960 ft.; e. cascade of Arpenaz. 

11. **View of Mt. Blanc. 17 mis. distant, x the Arve. 

12. 1,791ft.; 2,000 pop. ; burned 1840. 13. x the Bon-Nant. 

14. 2,066 ft. Dine. Popular watering-place. 15. At the farther end, and over- 
head, may be seen portions of a passage cut through the rock, supposed to be of 
Roman origin. Gorge. Cascade. 

16. *View of the valley of Chamonix and the Mt. Blanc range, with the glaciers 
stretching down the vast slopes : the glaciers de Gria, de Taconay, and des *Bossons. 

17. Chamonix (sham'-o-ny), 3,445 ft., in a deep narrow valley, at the foot 
of Mt. Blanc, the highest mountain in Europe. See Chamonix. 



Mis. 

3 

4 

10 


1. 
2. 
3. 
4. 
5. 

6. 

7. 

8. 

9. 
11. 
12. 
13. 
14. 
15. 

16. 

17. 


Geneva 

The Foron 

Annemasse 

Nangy 


50 
47 
46 

40 

35 

26 
25 

17 

17 

14 

13 

11 

6 

5 

2 

Mis. 


15 


Bonneville 

Marignier 

Chatillon 


94 


Cluses 


?5 






Magland 


33 
33 
36 


St. Martin 

Sallenches 

Fayel 


37 
39 


Tunnel 


44 

45 
47 
50 


Pont de Marie 

Les Ouches 

Les Bossons 

Chamonix 



546 



KOUTE NO. 37. 



Mis 



Chamonix, . 
Les Praz . 

Gla. des Bois . . . 

Les Tines 

Lavancher 

La Joux 

Grasonet 

1. Argentiere, .... 
Trelechamp . . . 

2. Col. d. Montets. 
Val. de Berard j 

3. Poyaz 14 



23 
22 

20 
19 

18 
17 
16 
15 



Route No. 37. Chamonix— Martigny (ma Tete Noir). 

(By private carriage only. ) 23 mis. ; 7 hrs. Follow the Arve an 
far as Argentiere in a narrow valley of gradual ascent. 

^ 42mfL B _ Aiguille verte, 13,450 ft.; n. 
Aiguille du Chardonnet, 12,543 ft. ; s. **Ai- 
guille Argentiere ; e. Aiguilles du Tour ; e. 
valley of the Arve, with bridle-path over the 
CoL. de Balme to Col. de la Forclaz ; n. the val- 
ley of CoL des Montets, through which the car- 
riage road passes. *G-lacier Argentiere. 

2. Summit. 4,819 ft.; indicated by a cross. 

3. n. Valle de Berard ; road follows the Eau- 
Noire. ** Views. 

4. Ch. protected from avalanches by a wall. 

5. Boundary between France and Switzer- 
land ; stone on east bank, n. side. Arch, for- 
mer boundary of Savoy. Hotel du Chatelard. 
Route to Vernayaz diverges here. 

6. 4,003 ft. La Roche-Percee, or tunnel of 
the Tete- Noire. Hotel Tete-Noire. Road leaves 
the Eau-Noire and follows up the Trient. 

7. 4,317 ft. ; road is joined by the path via 
Col de Balme ; ascend 700 ft. to the Col de la 

Forclaz ; *view of the Glacier de Trient, w. 

8. 5,020 ft. e. **view of the Upper Rhone Valley and the Bernese Alps; de- 
scend rapidly by numerous zigzags ; ** views. 

9. Termination of descent ; St. Bernard road s. ; x the Dranse. 

10. Take rly. for Geneva or Sierre ; at the junction of the Dranse and Rhone. 
St. Bernard road here commences, and prior to the construction of the Simplon 
road was one of the principal Alpine Passes. The Romans, Charlemagne, Fred. 
Barbarossa, and Napoleon I. took their armies over this Pass ; now little used. 



4. Valorcine 

Barberine 

5. Bridge 

Chatelard 

6. Tete-Noire 

7. Trient 

8. Col. de Forclaz .... 

Chav. en Haut 

Sarmieux 

9. Gt. St. Bernard rd. 
Mart, le Bourg 



13 

12 

11 
10 
8 
6 
5 
4 
2 
1 



10. Martigny Mis. 



Route No. 38. Paris— Geneva (Via Pontarlier). 
367 mis.; 15 hrs. Fares, I. CI., 70 fr. ; II., 53 fr. 



Mis. 
197 
206 
209 
212 
21? 
224 
227 
234 
237 
239 
243 
247 
253 
262 
267 



1. Paris 

2. Dijon 

Magny , 

Genlis 

Collonges 

3. Auxonne 

Champ vans. 

4. Dole 

Gd. Contour 
Montvarry . . 

Chateley 

Arc Senans . , 

5. Mouchard. . . 
Mesnay .... 
Andelot. . . . 
La Joux .... 



367 
170 
161 
158 
155 
150 
143 
140 
133 
130 
127 
124 
120 
114 
105 
100 



1. Paris — Dijon. See Route No. 39. 

2. From Dijon the rly. follows the various 
branches of the Saone to Dole, beyond which it 
soon enters the Jura mountains. 

3. Mt. Roland, 1,116 ft., with monastery, ra. 
on summit. 

4. Stop 5 m.; buffet; on the Doubs; 11,000 
pop.; Mt. Blanc visible, s. *View of the Jura 
range. Remains of Rom. Amphitheatre and 
Aqueduct. Enter the valley of the Louer. 

5. Stop 5 m.; enter the Jura range, through 



ROUTE NO. 39. 



547 



271 Boujeailles . 

276 Frasue 

279; La Riviere . 
285 6. Pontarlier . 
288 Frambourg 
296 Hospitaux . 
301 7. Vallorbes . . 
309 CroyRom. . 
313 • Arnex Orbe 
315! Lasarraz... 
325 Cossonav. . . 
325 Bussigny . . 
330 ' 8. Lausanne . . 
367 Geneva . 



96 
91 

88 
82 ! 
79! 

71 
66 
58 
54 | 
52| 
47 ! 
42 
37 
Mis. j 



which the rly. line is carried with notable engi- 
neering. 

6. Stop 15 to 30 m. ; on the Doubs ; pop. 
5,000. Custom-house for westward trains ; for 
eastward trains at Verms. Passports desirable. 
Rly. follows the Doubs. *Scenery. June, t r 
Neuchatel and Berne. Road recently opened 
from Pontarlier to Lausanne, making the short- 
est and one of the most picturesque routes from 
Paris to Switzerland. 7. S<.op 8 m. 8. Stop 10 to 
30 m. Lausanne to Geneva. See Route No. 34. 



Route No. 39. Paris— Geneva («*» Macon). 

390 mis.; 12 hrs. Fares, I. CI , 77 fr.; II., 58 fr. 



Mis. 1 

4! 

10, 
12 

27: 

37 
42 

50 



1. Paris 

2. Charenton 

3. V'neuveS.G... 

4. M mtgeron 

5. Melun 

6. Fontaiuebleau, 

7. Moret , 

8. Montereau 



1. Rly. follows the valley of the Seine to 
Montereau, 50 m. 

2. x the Marne; w. Fort Ivry; e. Fort 
Charenton. 

3. e. Upon a forest hillside ; w. fertile valley 
of the Yeres. 

4. e. Hilly. Stas. Brunoy, broken ; Combs- 
la- Ville, w. dist. on hill. Lieusaint, extensive 
plains of wheat, long lines of poplars. Cesson, 
broken country. 

5. Pop 11,000 ; x Seine ; taken by the Eng- 
lish, 1419. e. Bois-le-Roi, broken. 

6. Pop. 12,000 ; residence of Francis I., 14th 
cent.; royal park of 50,000 acres ; extensive for- 
ests. Pal. 1 ml. w.; not in view. Napoleon I. 
here divorced; afterward signed his abdica- 
tion : Nap. III. baptized. Sta. Thomery. 

7. Broken ; x valley of the Loing on a 
bridge of 30 arches, w. chateau occupied by 
Sully, ru.. *view e. and w. St. Mammes, level, 
11.23. 

8. Stop 5 m. On the bridge over the Seine 
the Duke of Burgundy was murdered, 1419, in 
a friendly (!) interview with and by direction 
of the Dauphin, afterward Ch. VII. Victory 
of Nap. I., 1814, over the Allies. Enter valley 
of the Yonne ; Villeneuve-le-Grand ; Cham- 
pigny, e. level ; Pont-sur- Yonne, cut. 

9. Capital of ancient Senones, B.C. 400. e. *View, vineyards. Becket took re- 



70 9. Sens 

9910. La Roche 

124 11. Tonnerre 

127 1 12. Tanlay 

140! N.-s.-Ravieres. . 

151; 13. Montbard 

165:14. Darcey 

180 ] 15. Blaisy-Bas 

185 16. Malain 

197117. Dijon 

210|18. N.-s.-Beaune.. 

220 ,19. Beaune 

229j Chagny 

238 20. Chalon-sur-S. . , 

256 21. Tournus 

275 22. Macon 

299|23. Bourg 

310! 24. Pontd'Ain 

316J25. Amberieu 

324 1 26. St. Rambert . . 

338!27. Rossillon 

350 28. Culoz 

363 29. Pyrmimont . . . 

370 30. Belleg'de 

376 31. Collonges 

378 Chancy I 12 

390 32. Geneva Mis. 



390 
386 
380 
378 
363 
353 
348 
340 
320 
291 
266 
263 
250 
239 
225 
210 
205 
193 
180 
170 
161 
152 
124 
115 
91 
80 
74 
66 
52 
40 
27 
20 
14 



fuge in the cathedral, 1164. Extensive fields of sugar beet: 
Yonne ; St. Julien Cezy, plain : Joigny, e. 



Villeneuve-sur- 



548 ROUTE NO. 39. 

10. e. x the Yonne; enter the valley of the Armancon. Along the Canal du 
Bourgogne ; charming country. Brienon plain. St. Florentin. 

11. Stop 20 m. Good buffet. 

12. *Chateau, 1520, rendezvous of Huguenots ; e. fertile valley ; 2 tunnels ; 
Ancy-le-Franc ; Nuits-s.-Ravieres Aisy ; e. cas. ru., hilly. 

13. Nativity of Buff on ; his chateau ro. ; w. his monument. Rolling. Les 
Laumes, w.,mon. 

14. Narrow valley ; Verrey ; hilly. From Macon to Pont d'Ain, rich fertile 
plain, with corn, potatoes, and grass, and less of the vine. 

15. Tunnel of %% mis. pierces the ridge dividing the waters of the Seine from 
those of the Saone and the Rhone; wild scenery; w. *view, long cut. 

16. *View w. ; enter valley of the Ouche. Velars, picturesque ; Plombieres, 
frequent cuttings. 

17. Stop 8 m. ; pop. 40,000 ; ancient cap. of Burgundy ; residence of its Dukes 
from 1000 to 1500 ; pal. built by Louis XI. is now the Hotel de Ville ; cathedral, 
1106. Bombarded and taken by the Germans, 1870. Birthplace of Bossuet, Ch. 
the Bold, and Vauban ; x the Ouche ; w. hills — the Cote d'Or — extend from Di- 
jon to Chagny, 30 mis. e. Plains, Gevrey ; Vougeot, celebrated Clos-Vougeot vine- 
yard. 

18. Battle between the French and the Germans, Dec, 1870. Gorgoloin, ex- 
tensive cuttings and fillings for several miles. 

1 9. Important wine district. Meursault ; Chagny (a short dist. w. is Autun, 
where Caesar spent a winter) ; w. mon. ; Fontaines w., Mts. Cote d'Or to Macon. 

20. Stop 3m; pop. 20,000. Abelard died, 1142. In clear weather Mt. Blanc 
may be seen w. ; the Jura e. ; valley of the Saone, Varennes ; Sennecy-le-Grand w. 

21. On the Saone ; birthplace of Greuze ; contains ch. of St. Philibert, a.d. 960 ; 
rolling. Uchizy, vineyards. Pont-de-Vaux-Fleury ; Senozan ; along the Saone. 

22. Stop 10 m. ; buffet ; pop. 20,000. Birthplace of Lamartine. Extensive wine 
mart ; x the Saone ; view of Mt. Blanc from the bridge ; along the Veyle ; Pont- 
de-Veyle ; Vonnas, plain ; Mezeriat ; Polliatt ; e., the Jura range. 

23. Stop 3 m. Mon. to Bichat, the anatomist. La Varrette. 

24. w. Chateau ; x the Ain ; approach the Jura. Ambronay. 

25. Stop 15 m. ; buffet. June, to Lyons. 

26. Enter the mountain gorge ; e. ruins ; statue ; precipitous cliffs. Tenay, 
narrow defile. 

27. Aft., w., Lakes of Pugieu ; enter the valley of the Rhone. Tunnel. Virieu- 
le-Grand ; Artemare. 

28. Stop 10 m. ; buffet. June, for Turin, Seyssel. 

29. Several tunnels. 

30. Stop 10 to 20 m. Customs examinations ; show passports. Valserine via« 
duct; Credo Tunnel, 2)4 mis.; w. the Perte du Rhone, a deep gorge. 

31. The last French station; nr. is Fort de l'Ecluse. 

32. Station on the n. margin of the city. 

The most desirable points for breaking the journey are Dijon and Macon. 
See Geneva. 



ROUTE NO. 40. 



540 



Route No. 40. Geneva— Turin. 

192 mis.; 10 hrs. Fares, I. CI., 40 fr. ; II., 29 fr. 

Prom Geneva to Culoz. See Route No. 39. 

1. Change cars; connections not always close ; 
: the Rhone. 

2. Along the narrow Lac du Bourget, 12 
miles ; *views. 

3. Stop 10 m. Noted summer resort, on ac- 
count of its sulphur springs. Rom. temple and 
arch of 4th cent. Viviere. 

4. Stop 15 m. ; cap of Savoy; pop. 20.000. 
Ruins of palaces of the Duke3 of Savoy. Aft., 
e., ru. cas. of Batie and Chignin. 

5. June, of line to Grenoble. 

6. Cas. besieged by Louis XIII. thirteen 
months ; destroyed by Louis XIV. Sta. St.' 
Pierre dAlbigny. 

7. e. Narrow valley of the Isere, with vine- 
yards and chalets. 

8. Noted for a celebrated victory of the French 
and Spaniards over the Savoyards, 1742. x the dark and turbid Arc. 

9. Valley becomes narrower ; *wild scenery ; numerous tunnels and bridges, e 
Rom. tower, ro. St. Michel ; x the Arc. La Praz. 

10. Stop 1 hour ; change cars. Custom-house. Buffet poor. Change time, the 
Italian being 47 m. faster than the French. The rly., after passing the station 
a mile, doubles back upon the mountain side, and enters the Mt. Cenis Tunnel 
nearly abreast the station. This great work was commenced 1857 ; completed, 
1S70, at a cost of $15,000,000. It is 8 mis. in length, 19 ft. high, 26 wide ; n. end 
3,809, centre 4,300, s. end 4,200 ft. above sea level, and 3,500 below the crest of 
the mountain. Passengers suffer little inconvenience from smoke. 

11. s. end of the tunnel. 

12. w. Near sta. , Rom. arch, ru. Valley of the Dora Riparia. Numerous tun- 
nels ; for miles magnificent scenery of wild barren mountains towering on either 
side of the narrow fertile valley. Salbertrand ; Chiomonte. 

13. Approaching M. on the e., in the valley below, is Susa, with Arch of 
Augustus. Sta. Bussoleno. 

14. The Abbey of S. Michele della Chiusa. 15. See Turin. 



Mis. 1 


Geneva 


192 


42 1. 




150 


47 2. 




145 


57 3. 




1S5 


(56 4. 




126 


73 5. 


Lea Marches 


119 


77 6. 


Montmelian 


115 


87 1 7. 




105 


92 8. 




100 


96 


Epierre 


96 
88 


104l 




109 9. 




83 


125 10. 


Modane 


67 
52 


140 11. 


Bardon'chia 


143 


Beaulard 


49 
47 
33 
23 


14512 


Oulx 


159 13. 


Meana 


169 




175 14. 


S. Ambrogio 


17 


180 


Rosta 


12 
6 


1S6 


Alpignano 


192 15. 

i 


Turin 


Mis. 



Route No. 41. Paris— Turin. 

500 mis.; 22 hrs. Fares, I. CI., 100 fr. ; II., 82 fr. 
Paris to Culoz. See Route No. 39. Culoz to Turiu. See Route No. 40. 



550 



ROUTE NO. 42. 



Route No. 42. Turin— Bologna. 

207 mis.; 8 hrs. Fares, I. CI., 100 fr.; II., 83 fr. 

1. General rly. centre for western Italy. 

2. x the Po ; royal chateau, n., on hill-side 

3. June, for Cuneo. Broad fertile plain. Stas. 
Cambiano, Pessione, Villanuova. 4. x the Bor- 
bone ; broken. Baldichieri. 

5. In the valley of the Tanaro ; pop, 50,000. 
Nativity of Alfieri ; his statue in the Piazza. 
Ely. follows the Tanaro ; crossing on fine bridge 
of 15 arches. Annone, Cerro, and Felizzano. 
Plain. Solero, s. Alps, dist. 

6. Slop 15 in.; usually change cars. June, 
for Genoa, Bologna, Milan, and Novara. Im- 
portant military position ; strongly fortified. 
On the Tanaro ; pop. 60,000 ; founded, 1168. 
Has little of interest. 

Point nearest to the battlefield of Maren - 
go. S. Giuliano. 

. x the Scrivia ; town entirely destroyed by 
Fred. Barbarossa. Pontecurone ; Voghera. x 
rly.; fertile plain. 

9. Bom. Clastidium. Important military po- 
sition since the Punic Wars. Besieged by Han- 
nibal. Great battles fought here, 1800 and 1859. 
Stas. : S. Giuletta, Broni, Stradella. Arena Po, Castel S. Giovanni, Sarmato. x 
the Tidone. 

10. x the Trebbai, 23 arches ; s. end column commemorating the 3 great battles 
of the Trebbia ; Bomans defeated by Hannibal, B.C. 218 ; defeat of French by 
Austrians, 1746 ; defeat of Suwarrow, 1799. 

11. Stop 10 m. On the Po. Founded by the Romans, B.C. 219 ; Pontenure ; 
Cadeo. 

12. x the Arda ; fertile plains ; s. *views; x the Stirone. 

13. Ivy -covered castle taken by the Guelphs, 1407. x the Taro ; bridge of 20 
arches ; built by Duchesse Marie Louisa, 1816. 

14. Stop 4 m. ; pop. 50,000 ; conquered by the Bomans B.C. 187 ; destroyed du- 
ring the Triumvirate ; built by Julius and Augustus ; has few remains of the 
Middle Ages, x the Parma ; x the Enza. 

15. Nativity of Ariosto. Sta., Rubiera. x the Sechia. 

16. The Campanile, 3.5 ft. high. " is one of the four towers of which Northern 
Italy has reason to be proud." — Knight. 3 mis. x the Panaro. 

17. Antony defeated by Octavian and Hirtius, B.C. 43. 

18. x the Samoggia. 

19. x the La vino ; x the Reno; fine stone bridge. 

20. The towers of Bologna seen, s.; and the Monte della Guardia. s., crowned 
by the church of the Madonna de San Luca, to which a covered walk from the 
city extends \% mile. 



Mis. 
5 

8 


1. Turin 

2. Moncalieri 

3. Trofarello. 


207 

202 

199 

197 

1S2 

177 

172 

169 

151 

147 

138 

126 

122 

113 

101 

96 

90 

77 

68 

62 

54 

37 

22 

14 1 

10 

8 

5 

Mis. 


10 
25 
30 

35 


4. Villafranca 

S. Damiano ....... 

5. Asti 


48 
56 
(50 
69 


6. Alessandria 

8. Tortona 


81 


Voghera 


85 




94 

106 


Sarmato 


111 


10. S. Nicolo 


117 


11. Piacenza 


130 
139 
145 
153 


13. Castelguelfo 

14. Parma 


170 

185 


16. Modena 


493 
197 




199 


19. Anzola 


«09 


Lavino 


207 


20. Bologna 



ROUTE NO. 43. 



551 



Route No. 43. Turin— Milan. 

93 mis. ; 4 hrs. Fares, I. CI.. 16.50 fir. ; II., 11.50 fr. 

1. Rly. follows the Po to Chivasso. x the 
Dora Riparia, the Stura, the Malon, and the 
Oreo. n. Alps are seen. 



Mis 


1. Turin 


93 
&3 

78 
75 
71 
67 

64 
62 
58 
56 
53 
44 
41 
36 
29 
25 
17 
13 
8 
Mis. 


in 




15 
18 


Brandizzo 


99 




25 

29 


Livorno 


31 


Bianze 


33 

37 
40 
49 


Tronzano 

3. Santhia 

4. Vercelli 


52 

57 


Borgo 

Ponzana 


64 

68 


5. No vara 


76 


7. Magenta 


80 


Vittuoiie 


85 
9?, 


8. Rho 

9. Milan 







2. x the Dora Baltea, having its source in 
Mt. Bianc. 

3. Stop 2 m. Road, which lies from Turin to 
the n. e. : now turns to the s. e. to Vercelli. 



4. Stop 3 m. ; pop. 30,000. 
in Market Place ; x the Sesia. 



Statue of Cavour 
n. *Monte Rosa. 



5. Stop 4 to. ,' pop. 30,000. Defeat of Pied, 
montese by Austrians, 1849. Mon. to Cavour in 
Corso Cavour. June, of lines to Arona and 
Genoa. 



6. x the Ticino ; bridge of 11 arches. Near 
Magenta, s., mon. by Napoleon III. in honor 
of the victory of French and Sardinians over the Austrians, 1859. 

7. Opp. the station is the cemetery of the slain — a chapel, a charnel-house, and 
numerous mounds with crosses. 



8. Extensive rice fields, with irrigating canals. 
See Milan. 



9. Station outside the walls. 



Route No. 44. Arona— Milan. 

42 mis. ; 2 hrs. Fares, I. CI., 7.G5fr. ; II., 5.35 fr. 

1. At the southern terminus of Lake Mag- 
giore. Take stmr. here for the St. Gothard 
and San Bernardino Roads, and diligence or 
stmr. for the Simplon. On the w. margin of 
the lake, on a height, is the colossal statue of 
S. Carlo Borromeo, Abp. of Milan, 70 ft. in 
height, on a pedestal 42 ft. The head, hands, 
and feet are of bronze ; the robe of sheet cop- 
per. 

2. At the outlet of the lake ; x the Ticino. 
3. Defeat of Scipio by Hannibal, B.C. 218. 4. Stop 8 to. Sandy, sterile country. 

5. Fred. Barbarossa defeated by the Milanese, 1175. From Gallarate to Milan 
a low fertile country of rice, corn, and mulberry fields, with canals for irrigation. 

6. Confluence of the Olonna and the Laura. 

7. Station outside the walls. See Milan, 



Mis. 
6 


2. Sesto 


42 

36 

32 

30 

25 

21 

17 

14 

8 

4 

Mis. 


10 

19 


Vergiate 

3. Somma 


17 


4. Gallarate 


91 




25 

98 


5. Legnano 

Parabiago 


34 

38 
42 


6. Rho 

7. Milan 







552 



ROUTE NO. 45. 



Route No. 45. Como— Milan. 

29 mis. ; H hr. Fares, I. CI., 6 fr.; II., 4.20 fr. 

1. Harbor 2 m. from station. Situated at the 
southern extremity of the lake ; surrounded by 
mountains. Birthplace of the 2 Plinys and 
Volta. 

2. Tower of Castello Baradello, used by Fred. 
Barbarossa. 

3. Follow the Seveso. 4. e. Village of Carate. 
Dist., Monte Resegone. 

5. On the Lambro. In the Cathedral is the 
Iron Crown of Lombardy, said to have an iron band made from a nail of the true 
Cross, pi'esented by Pope Gregory to Queen Theodolinda in the 6th cent. To 
Milan rly. passes a low fertile country of rice, grape, and mulberry plantations ; 
Near Milan x the Seviso. 
6. Station outside the walls. See Milan. 



Mis. 
1 
5 


2. Camerlata 

8. Cucciago 


29 
2S 
24 


11 




18 


15 


4 Seregno 


14 


17 




19 


91 




8 


?*> 


Sesto 


4 


9,9 




Mis. 









Mis. 
16 
20 
26 
86 
41 
51 
62 
65 
68 
78 
80 
85 
92 
94 
98 

105 
114 
124 
133 



Eoute No. 46. Milan— Venice. 

165 mis. ; 6 hrs. Fares, I. CI., 30 fr. ; II., 21 fr. 

1. See Milan. 2. x the Adda. 1705, battle 
between Pr. Eugene and Vendome ; 1799, be- 
tween Suwarrow and Moreau. Fertile plains, 
with -long lines of Lombardy poplars beside 
the canals. 3 Stop 4 m. At Verdello x the 
Morla. Stop 4 in. Burned by the French, 
1512; taken by Austrians, 1797; pop., 40,000. 
Has Rom. Temple of Vespasian. 

5. x the Chiese ; slopes dotted with villas. 

6. n. ** Views of the Alps and Lake Garda ; 
viaduct, 17 arches. Battlefield of Solferino, 
1859, extending from the lake s. 12 mis. *View 
of lake. 7. x the Mincio. Austrians defeated 
by Piedmontese ; 1848. 

8. Burned by the Austrians, 1S48. 

9. Many cuttings through hills. 

10. Porta Nuova ; ]unc. of rly. for Munich ; 
x the Adige. Aft., 2 mis., Porta Vescovo, or 
old gate. Stop 20 m.\ good buffet; one of 
the strongest fortified cities of Italy. Birth- 

_, place of "Nepos, Vetruvius, and Catullus. "Well 
preserved Rom. Amphitheatre ; seats for 24,000. x the Pautena. Fortifications; 
views n. Cas. of Montario, n., formerly of the Scagliers. Sta. San Michele, where 
the three granddaughters of Titian took the veil. Extensive mulberry orchards; 
x the Fibia. 
11. Defeat of Napoleon I. by the Austrians, 4 days prior to his memorable vie 



1. Milan 

2. Cassano 

3. Treviglio 

Morengo , 

Chiari 

Rovato 

4. Brescia 

5. Ponte S. Marco . . 
Lonato , 

6. Desenzano 

7. Peschiera 

8. Castelnuovo 

9. Sommacampa 

10. Verona P. Nuo 

10. Verona P. Vesc . . 
S. Martino 

11. Caldiero 

12. S. Bonifacio , 

13. Montebello. 

14. Vicenza -, 

Poiana 

14215. Padua 

146 16. Pon. di Brenta. . . 

154 Marano 

160 17. Mestre 

165J1S. Venice 



165 

149 

145 

139 

129 

124 

114 

103 

100 

97 

87 

85 

80 

73 

71 

67 

60 
51 
41 
32 
23 
19 
11 
5 
Mis. 



ROUTE NO. 4^ 



553 



tory at Areola, 1796. Villanuova n., with cas. formerly of tho Reagliers. On the 
hill sq. campanile of S. Vittore. 

12. 8. 3 mis. is the battlefield of Areola ; ch. sq. campanile. Stat. Lonigo. 

13. n. 2 castles of the Montecchi — the Montagues of Romeo and Juliet. *View 
of the Alps. River bed above the adjacent land. n. Frequent ruins of cas. on 
the hills. Fields covered with vines stretching from mulberry trees ; x the Gun. 

14. Stop 4 m. Most noted of the Italian cities for its palaces. Birthplace of 
Palladio. Pass through the Campio Marzio ; x the Bachiglione ; s. Monte Goldo ; 
dist., s., the Euganean Mts. ; country flat, x the Brentella ; country dotted with 
villas. 

15. Stop 8 m. On the Bachiglione. Cathedral, 7 domes and sq. tower, s. Level 
and fertile country ; extensive plains ; streams bordered by long lines of willows 
and poplai-s. 

16. x theBrenta; snow-clad Alps n. Extensive fields of corn, without trees. 

17. Stop 8 m. June, of rly. for Triest and Vienna ; Fort Malghera. x the la 
gnne on a bridge 2 mis. long. 

18. Station on n.w. of city. See Venice. 



Route So. 47. Milan— Bologna. 
133 mis. ; 5* hrs. Fares, I. CI., 24.80 fr. ; II., 16.50 fr. 

1. See Milan. 



Mis. 
5 
11 
15 
20 
27 
32 
35 
38 
43 
133 1 



1. Milan 

Rogoredo . . . 

2. Melegnano . . 
Tavazzano . . 

3. Lodi 

Secugnano . 
Casalpuster . 
Codogno . . . 
S. Stefano . . 

4. Piacenza . . 
Bologna . 



43 

38 

32 

28 

23 

16 

11 

8 

5 

90 

Mis. 



2. 1515 Francis I. of France defeated the 
Milanese and Swiss ; 1859 French defeated the 
Austrians. 

3. Memorable as the scene of Napoleon's bat- 
tle of the Bridge of Lodi, 1796. 



4. Stop 5 rn. ; usually change cars, 
to Bologna. See Route A r o. 42. 



Piacenza 



Route No. 48. Venice— Bologna. 

100 mis. ; 4 hrs. Fares, I. CI., 18 fr. ; II., 13 fr. 

Venice to Padua, see Route No. 46. 

1. Stop 10 m. Rly., leaving the road to Milan, 
turns southward, x the Canale di Battaglia. 

2. Birthplace of Livy and Valerius Flaccus. 

3. Aft. beyond the tunnel, e. chateau of Cat- 
tajo, owned by the Duke of Modena. 

4. Watering-place; warm baths. 3 mis. s.w. 
is Arqua del Monte, where Petrarch died, 1374. 

Ruins of cas. and fortifications ; a place 
of great sti-ength and much importance in the 
Midde Ages. w. The Euganean Hills, with 
ruins. 



VTls 




100 
95 
89 
87 
81 
77 1 
72 
70 
67 
63 
59 
54 
50 
45 


^ 




11 


Marano 


1? 


Dolo 


19 
•?3 


Pon. di Brenta . . . 


28 
30 
33 
37 


4. Battaglia 

5. Monselice 


41 
46 
50 
55 


Este 

8. Ai-qua 



554 



ROUTE NO. 49. 



6. Bfr. x the Gorzone Canal, country low ; 
aft. x the Adige, e., fortifications. 7. Stop 5 
m % 2 sq. leaning towers ; fine farm-houses. 

8. x the Bianco Canal. (9). Extended 
plain ; houses few, and poor. Reach the Po. 
Aft. S. M. Maddalena, x the Po. 

10. Sto$> 5 m. Vill. on e. 4 peculiar sq. 
towers ; gaudy-colored houses. Homes of 
Tasso, Ariosto, G-uarini, Titian, Garofalo, and 
D. Dossi, and Prison of Tasso. In the 16th cent, was the most elegant court 
of Europe. The library contains a copy of the ''Jerusalem," in Tasso's hand- 
writing ; also several cantos of Orlando Furioso in Ariosto's handwriting. Aft. 
x the Canale Cavo Tassone ; x the Reno. 11. 2 mis. dist., w., is Cento, the 
birthplace of Gr.ercino. 

12. Charming village, with luxuriant gardens. 

13. Bfr., junc. of rlys. to Milan and Florence ; x the Reno. The towers of 
Bologna and Monte della Guardia, with the ch. of Madonna de San Luca, on the 
w., are visible some distance before arriving. See Bologna. 



58 
63 
68 
71 


9. Polesella 

S. Maria Madd 

Pont Logo Scuro . . 


42 

37 

32 

29 

21 

18 

15 

11 

7 

5 

Mis. 


79 

82 


Galliera 


85 
89 
93 

95 


S. P. in Casale 

12. Cas. Maggiore 

Corticclia 


100 


13. Bologna 



Route 49. Bologna— Florence. 

82 mis. ; 4 hrs. Fares, I. CI., 15 fr. ; II., 10.50 fr. 

1. Rly. leaves from the n. margin of the city, 
makes an extended circuit to the w. and s. w., 
and thence follows the Reno nearly to the sum- 
mit of the Apennines. It is carried over the 
mountain ridge by numberless bridges, viaducts 
and 45 tunnels — 23 on the e. and 22 on the w. 
side. The second Triumvirate, between Au- 
gustus, Antony, and Lepidus, was consummat- 
ed B.C. 43, on an island in the Reno near Bo- 
logna. Long bridge over the Reno ; rly. di- 
verges w. to Milan; e., the Monte della 
Guardia, which may be seen for many miles. 

2. Abreast, e., is the dome of a monastery, 
behind which lies Bologna. The allied armies 
of Bologna and Florence defeated by Milanese, 
1402 ; the Papal army defeated by the French, 

1511. e. Barren hills, furrowed with deep gorges ; *views of mountains e. and w 

3. The Setta joins the Reno. Augustus constructed an aqueduct for the city 
of Bologna ; x the Reno frequently. Bridge of 3 arches ; e. valley narrow, uncul- 
tivated. Tunnel. 

4. w. Castellated Villa Aria. *View, w. Several bridges and tunnels. 

5. Dilapidated looking village ; w. fine arched bridge. Valley becomes a nar- 
row gorge between precipitous mountains. Bridges ; long tunnel ; e. castle. 
Hillsides, with low oak bushes. 



Mis. 

? 

13 


1. Bologna 

Borgo Panigale . . . 

3. Sasso 


82 

79 

75 

70 

66 

59 

53 

46 

41 

37 

28 

21 

16 

11 

8 

5 

3 

1 

Mis. 


16 

9,3 




29 

36 


6. Riola 

7. Porretta 


41 

45 


Molim delP 

8. Pracchia 


54 


9. Piteccio 


61 


10. Pistoia 


66 


11. San Piero 


71 


12. Prato 


74 

77 


Calenzano 

Sesto 


79 


Castello 


81 


Rif redi 


82 


13. Florence 



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East. 



ROUTE NO. 50. 



.;;>;> 



6. e. Monte Ovolo and Monte Vigese. At the foot of the last the vil. of Vigo, 
destroyed by a landslide, 1S51. e. Uas. Savignano. 

7. Noted for its miueral waters ; village w. Wind along a small stream amid 
mountains, tunnels, bridges, and overhanging cliffs ; more tunnels ! 

8. Summit of the road 2,025 ft. above sea level. Aft., long tunnels, and, be- 
tween, occasional *views of the mountains, e. **View of the extensive and fer- 
tile plains of Tuscany. *Magnificent viaduct of 18 arches. Emerge from a lung 
tunnel to 

9. On the edge of a deep ravine, amid wild mountain scenery. Near Pistoia, 
w. tower on hill ; reputed scene of Catiline's defeat. 

11). Stop 7 m. June, for Leghorn and Pisa ; pistols invented here. Ply. now 
lies along the base of the Apennines to the s. e., through the rich fertile plains of 
Tuscany. 11. e. Cas. of Monte Murlo. 12. Noted for its manuf. of straw. 

13. Station in the n. w. part of the city. See Florence. 



Mis. 
8 
12 
13 
IS, 
22 
25 
30! 
33 
38 

4o; 

55 

62 



196 
193 
1S4 
183 
178 
171 
171 
166 

im 

158 
155 
151 
141 
134 
130 
124 



Route No. 50. Florence— Rome. 

196 mis. ; 1\ hrs. Fares, I. 01., 38 fr. ; II., 26.25. fr. 

1. Leaving the city on the n. side, the rly. 
makes a wide circuit of 3 mis., and approaches 
the city again at Porta S. Croce. On the e. the 
hills are dotted with charming villas and cov- 
ered with vineyards. Along the Arno, hills 
with vines and olives. 2. e. The Pratomagno 
Mts., with the monastery Vallombvosa. 

3. x the Sieve. Along the Arno ; wooded 
hills ; x the Arno ; valley becomes narrower. 
* Views e. and w. 

4. Fine bridge; Apennines, e., dist.; fertile 
fields. Incisa ; 2 sq. towers, e. Cas. Tunnel ; 
tower ; numerous villages. Dist., mts. e. and 
w. Iron works. 

5. Birthplace of Masaccio, 1402 ; vil. e. 

6. e. Cultivated hills ; vv. fertile gardens. 
Leave the valley; broken country. Several 
tunnels ; * viaduct. 7. e. Village in valley be- 
low ; barren, broken ; e. cas.; x stream ; mts. 
approach e. and w. 

8. Stop 5 m. station outside ; walled ; no 
spires or elevated towers. Pop. 10,000. One 
of the 12 confederated Etruscan cities. De- 
stroyed in the civil wars of the Romans, Goths, 
Lombards, G-uelphs and Ghibellines. Birth- 
place of Maecenas, friend of Augustus ; Pe- 
trarch, Vasari, and the four Aretino. 

9. Extended plain ; slopes, with olives ; villas ; w. cas. 

10. On a mountain, e., ru., Fortress of Montecchio on hill with olive trees ; w. 
extended plain, fertile ; mulberries and vines. 



1. Florence 

Flor. P. Croce. . 

2. Compiobbi 

3. Pontassiev e 

4. Rignano 

Incisa 

Figline 

5. S. G-iovanni 

6. Montevarchi. . . 
Bucine 

7. Laterina 

Ponticino 

8. Arezzo 

9. Frassineto 

66 10. Castiglion 

72 11. Cortona 

76 12. Terontola 120 

82 13. Cas. del Lago 114 

86 Panicale 110 

94 14. Chiusi I 102 



105 15. Ficulle 

118 16. Orvieto 

126; 17. Castiglione 

131 Alviano 

136 Attigliano' 

140 Bassaho 

143>18. Orte 

Gallese 

152 19. Borghetto 

160 1 Stimigliano.... 

165 20. Montorso | 31 

172 21. Pas. di Corese 24 

180 22. Mo. Rotondo 16 



196 23. Rome. 



Mis. 



556 ROUTE NO. 51. 

11. e. On high hill covered with olives ; several low, sq. towers ; picturesque; 
walled ; one of the most ancient cities of Italy. Birthplace of Luca Signorelli, 
1439, and Pietro de Cortona, 1596. w., Wide fertile plain. 

12. Stop 4 m. June, for Perugia ; aft., along the shore of Lake Traseinenus, 
30 mis. in circ. Memorable as the scene of Hannibal's great victory over the Ro- 
mans. B.C. 217. Hannibal, taking advantage of a dense fog, posted his troops to 
command a long defile on the upper side of the lake ; the Consul, supposing Hanni- 
bal was marching upon Rome, hastened to follow ; the fatal mistake was dis- 
covered too late ; the Consul with 15,000 of his men fell, and the remnant were 
scattered, w., Groups of large trees ; e., dist., mountains crowned with castles. 

13. On a promontory ; *views. Fine wooded country ; e. low, w. broken hills. 

14. Stop 4 m. June, of rly. from Siena. Open fields, with dist. wooded hills. 
Olive orchards. 

15. Picturesquely situated on summit of a dist. hill. Rly. follows the Paglia. 
Barren, broken country ; villages all on hill-tops ; several tunnels, w., Orvieto 
seen on hill. 

16. Stop 3 m. On a precipitous ledge, nearly 700 ft. high ; one of the strong- 
holds of the Guelphs. Pleasant wooded hills to the junc. of the Tiber ; thence 
barren, desolate country. 

17. Caves seen on hill-sides, e., Hills with castles ; barren mountains, x the 
Tiber; w., broad valley; e., desert hills; w., marshes; x the Tiber. 

IS. Stop 10 m. June, of the rly. from Perugia; old town on hill, e. Rly. 
along the Tiber ; ruins of villas and villages on nearly every hill-top. 

19. e., Caves ; x the Tiber ; w., wide meadows ; dun-colored cattle— horned 
cattle, x the Tiber. 

20. View down the valley, nearly to Rome. 

21. Ancient Cures, birthplace of Numa Pompilius. Open country. 

22. w. Isolated hill with single house. Immediately after, nearly in front of 
the train, the dome of St. Peter's comes into view. 

23. e. Monte Albano ; the ancient aqueducts. Pass through the walls on the 
e. side ; sta. in the northern part of the city. 



Koute No. 51. Florence— Pisa. 

50 mis. ; 2$ hrs. Fares, I. CI., 9 fr. ; II., 6.25 fr. 

1. Leave from the central station ; pass the 
Cascine, amid a succession of gardens and 
villas. 2. Noted for manufacture of straw ; 
numerous towers ; x the Ombrone. Enter the 
gorge of the Gonf olina ; x the Arno. 

3. Castle built 1203. n. Villa Ambrogiana, 
with towers built by Ferdinand I. x the Pesa. 
4. Stop 5 m. Junc. for Siena. 

5. s., On a height, San Miniato dei Tedeschi 

6. Confluence of the Arno and Era. 7. De- 
feat of the Pisans by the Florentines, 1364. 

8. Along the Arno. n. The range of Monte Pisani, of which La Verruca (1.765 
ft.) is crowned with, ru., cas. of the 15th cent. 9. See Pisa. 



Mis. 

6 

9 

15 

90 


1. Florence 

3. Montelupo 


50 
46 
41 
35 
30 
25 
20 

16! 

14! 
9 
5 
Mis. 


25 

30 
34 


La Rotta 


36 
41 




45 
50 


9. Pisa 







ROUTE NO. 52. 



557 



Route No. 52. Milan— Alessandria— Genoa. 

104 mis. ; 5 hrs. Fares, I. CI., 17.30 fr. ; II., 12 fr. 

1. SeoJfilan. 

2. Pop. 6,000. Country covered with rice 
fields ; fertilized by irrigation. 

3. Bf r., cross the Po. on a bridge of 21 arches. 

4. June, of Turin-Bologna rly. Soon x the 
Bromida ; 1 ml. aft. is the battlefield of Mar- 
engo; Nap. I., 1800. Plains. 

5. Stop S m. Suwarrow defeated the French, 
1799; sq. tow. on height, w., marks the bat- 
tleground. Country broken. 

6. Deep, narrow valley ; w., sq. tower. Rly. 
winds along the gorge of the Scriva, with nu- 
merous bridges and tunnels ; *scenery. 

7. Summit of rly. 1192 ft; tunnel 2 mis. in length. 

8. w., On a mountain summit, is the white ch. of Madonna della Guardia ; w., 
gaudy-frescoed houses. 

9. Enter the city by a tunnel; w., near the sta., is the Pal. Doria. See Genoa. 



Mis. 
18 
24 


1. Milan 

Abbiategrasso 

Vigevano 


104 

86 

80 

72 

63 

55 

46 

33 

28 

26 

14 

8 

2 

Mis. 


32 


2. Mortara 


41 
49 

58 
71 


3. Vnlenza 

5. Novi 


76 

7S 


6. Arquata 


90 


7. Bnsalla 


96 

102 
104 


8. Pantedecimo 

S. Pier d' Arena.. . 

9. Genoa 







Mis. 



5 1 
(i 2 
7 3 



ii 4 

13 

17 5 

19; 6 

21 1 
24 7 
28 8 
35 9 
37| 10 
41) 
4311 
46 12 
5713 
6414 
6715 
74 16. 
7817 
85 
91 
105 18. 



Route No. 53. Genoa— Pisa. 

105 mis.; 5 hrs. Fares, I. CI., 19 fr.; II., 13 fr. 

From Genoa to Pisa the road lies along the 
Mediterranean, and affords, w., an almost un- 
interrupted series of charming views of land 
and sea. Innumerable tunnels. 

1. Probably an old Rom. station— Quarto, 
4 ; Quinto, 5. 

2. Claims to be the birthplace of Columbus. 

3. Gaudy-colored houses ; olive and lemon 
groves ; * sea views. 

4. x lofty arched bridge, with * views e. and 
w. Sta. Recco. 

5. Beyond the tunnel of Ruta ; * views ; 
chestnut groves. 

6. 10,000 pop.; slender campanile ; tower on 
shore supposed to have been erected 1549. 
Rly. along the bay of Rapallo. 

7. Pop. 10,000 ; houses on arcades ; streets 
narrow. The aloe abundant along the shore. 

8. Stop 5 m. ; on an isthmus. 

9. Ruins of a fortress over the tunnel. 

10. * View e. 



Genoa 

Quarto 

Quinto 

Nervi 

Bogliasco 

Sori 

Recco 

S. Margherita. 

Rapallo 

Zoagli 

Chiavari 

Sestri Levante 

Moneglia 

Deiva 

Bonassola .... 

Levanto 

Monterosso . . . 

Spozia 

Areola 

Sarzana 

Avenza 

Massa 

Pietra Santa . . 

Viareggio 

Pisa 



105 
100 
99 
98 
97 
94 
92 
88 
86 
84 
81 
77 
70 
68 
64 
62 
59 
48 
41 
38 
31 
27 
20 
14 
:Mls. 



11. Encircled by hills ; oranges, lemons, fan-palms, and cacti abundant. 

12. Monterosso, Vernazza (48 mis.), Corniglia (50), Manarola (51), Riomaggiora 
(52) — five cities known as the Cinque Terre ; noted for wine and fine scenery. 



558 



ROUTE NO. 54. 



13. Stop 6 m.; 12,000 pop.; chief naval arsenal of Italy, having one of the best 
harbors of Europe (Rom. Portus Lanai). Tower, ro. ru., on hill w. Rly. leaves 
the coast. 

14. On a hill ; sq. campanile conspicuous, x the Magra ; 12 arches. 

15. Rom. Sergiana. Birthplace of Pope Nicholas V., to which place also th« 
Bonaparte family trace their ancestry, 1264 ; e. marble hills. Ancient Luna ru. 

16. e. with sq. campanile on hill. 

17. Montignoso, ru. on height, e. Carrara marble. Olive groves. 

18. e. The Cathedral and Campanile come into view; x theArno; station on 
the western margin of the city, outside the walls. See Pisa. 



Route No. 54. Pisa— Rome. 

221 mis.; 8 hrs. Fares, I. CI., 43 fr.; II, 30 fr. 

1. See Pisa. Route may be taken direct or 
via Leghorn, regaining the direct route at 
Colle S. Throughout the entire distance the 
rly. lies along the line of the old Rom. road, 
built by Scaurus, B.C. 109. 

2. Slop 5 m. June, of rly. to Volterra. Ap- 
proach the coast; w., on promontory, ancient 
Populonia ; the isl. of Gorgona. 

3. e. On hill, ruins. 4. e. On height ; x the 
Cornica. 

5. *Sea view ; w., the isl. of Elba and the 
prom, of Piombino. w., On height, Castiglioni 
and the vill. of Massa ; pop., 4,000. Leave the 
coast ; vills. on summits. 

6. View on w. 

7. View on e.; herds of Roman cattle. 

8. Stop 4 m. x the Ombrone ; ro. tower on 
hill. 

9. *Sea view. The Campagna. Defeat of 
the Gauls by the Romans ; x the Osa. 

10. Rom. Albinia ; w., salt works; x the 
Albegna. 

11. Stop 8 m. ; on an eminence ruins of Cosa, an Etruscan town. 

12. x the Fiora, on whose banks, to the e., are the ruins of ancient Vulei, 
whence large numbers of Etruscan vases have been obtained since 1820. x th« 
Arrone ; x the Marta. 

13. On height, x the Mignonne ; e. *view. 

14. Stop 8 m. Rom. Portus Trajani ; destroyed by the Saracens a.d. 828. 

15. Middle Ages cas. 



Mis 


1. Pisa 


221 

199 

195 

190 

185 

177 

166 

162 

155 

143 

135 

126 

118 

104 

99 

95 

83 

72 

63 

51 

42 

39 

36 

30 

24 

16 

13 

9 

Mis. 


22 
•?6 


Colle Salvetti 
Fauglia 


30 


Orciano 


36 
44 


2. Cecina 


55 
59 
66 

78 


3. Castagneto 

S. Vincenzo 

4. Campiglia 

5. Follonica 


86 

95 

103 

in 

199 


10. Albegna 


196 


11. Orbetello 


138 


Chiai'one 


149 


12. Montalto 


1*>8 


13. Corneto 


170 
179 
18<> 


14. Civitavecchia 

16. S. Severa 


18*) 


17. Furbara 


191 


18. Palo 


197 


19. Palidoro 


205 
208 
212 


Maccarese 

21 . Magliana 


221 





ROUTE NO. 54. 



559 



16. Cas. of the Orsini Family. 

17. Towers erected against the Turks in the Middle Ages. 

18. Ancient Alsium, residence of Pompey and Ant. Pius. 

19. x the Palidoro and Arrone. 

20. x the Galera near its junc. with the Tiber, 10 mis. below Rome. 

21. x the Magliana near its junc. with the Tiber, 6 mis, from Rome. 

Aft. 2 mis. the walls of the city become visible in front, s., Across the Tiber, 
standing alone, ch. of S. Paolo, x the T ber ; approach the city on its south-west- 
ern side. Above the walls may be seen Monte Testaccio and the Pyramid ( f 




lSoi 



XaniVvirui! 



SIENA 

., 'orreriieri 
•thtur.. 



iftOSSETO ^ ua P c n^™ 



-A 

(kJVbetello \ y°'*iBr __. 

K8B! SpSSiW. /V-<£-!£k I tl-Maoliano '' 



NXducalo 



lU\v*y,\sV,jAi»«no| 



- pi 
wm 



ASCOll PJ 



CHIETl 



1 




mmm 



Cbhtkal Italy. 

Cestius ; thence the Porta S. Paolo ; Porta S. Sebastiano. x the Via Appia ; ch. S. 
John Lateran ; S. Croce in Gerusalemme, with lofty tower. Pas3 beneath the 
Aq. of Aqua Felice, near the Porta Maggiore ; through the wall ; near the r. 
circular temple of Minerva Medica ; the ch. of S. M. Maggiore, with two domes 
and tower; and reach the station at the n.e. part of the city, having passed 
along the 8. western, southern, eastern, and n. eastern walls of the city. 



500 



ROUTE NO. 55. 



Route No. 55. Rome— Naples. 

162 mis. ; 7 hrs. Fares, I. CI., 34 fr.; II., 23.40 fr. 

1. Passing the city walls, on the e. are Fras. 
cati and the Sabine and the Alban Mts.; w. 
the arched aqueducts of Aqua Felice and Aqua 
Marcia and the Campagna. 

2. e. On height, Rocca di Papa, monastery ; 
Castel Gandolfo; Albano. Cuttings through 
lava beds : olive groves ; broken country. 

3. e. Alban Mts.; w. Volscian Mts. 

4. w. On an extinct volcanic hill, chateau 
Doria Pamfili. Enter valley of Sacco. 

5. Founded by Tarquin ; various ruins re- 
main. 

6. w. On distant height. 7. e. Disk; de- 
stroyed in 2d Punic war. w . Plain. 

8. Volscian Frusino ; conq. by Rom. B.C. 
304. 9. Stop 8 m>; x the Liris. w. Isoletta. 
10. Fertile valley of the Garigliano. Desert mts. 

11. Birthplace of Thos. Aquinas, Juvenal, 
and Emp. P. Niger, e. On mt. monastery of 
Monte Casino. 

12. Alliance between Fred. II. and Gregory 
IX. e. Vills. Cervaro, S. Vittore, S. Pietro. 
e. Rom. ruins. 13. Open country. *View mts. 

14. Rocca Monfina; extinct vol.; 3,400 ft. 

15. Valley of the Volturno ; broad fertile 
plain. 

16. Stop 2 m. ; built in the Middle Ages, and 
is now a strong military position ; was attacked 1501 by Caesar Borgia ; in 1860 
Francis II. defeated by Piedmontese. Numerous Rom. ruins. 

17. Ancient Capua ; founded by the Etruscans ; had 800,000 pop. Hannibal 
wintered here b.c. 216 ; taken by the Romans B.C. 214. Under the Rom. Empe- 
rors again flourished ; destroyed by the Saracens 8th cent. a.d. Subsequently 
modern Capua was founded. 

18. Stop 2 m.; royal pal. opp. sta.; built by Charles III.; extensive and mag- 
nificent; unoccupied. Vesuvius becomes visible in front, w. ; further on, on the e. 

19. e. Vesuvius and Monte Somma. 

20. Station on the s.e. margin of the city. See Naples, 



Mis, 

9 

10 

18 

20 

26 

35 

40 

46 

49 

54 

60 

64 

69 

76 

82 

85 

93 

100 

104 

109 

113 

118 

121 

126 

129 

135 

138 

142 

146 

149 

156 

162 



Rome 

Ciampino 
Marino . 

Albano 

Civ. Lavinia. 

Velletri 

Valmontone . . 

Segni 

Anagni 

Sgurgola 

Ferentino 

Frosinone 

Ceccano 

Pofi 

Ceprano. . . . 
Roccasecca. . . 

Aquino 

Cassino 

Ro. d'Ev'dro. 
Mignano 
Presenzano. . . 
Caianiello. . . . 

Riardo 

Teano 

Sparanisi 

Pignataro 

Capua 

Santa Maria . 

Caserta 

Maddaloni . . . 

Cancello 

Oasalnuovo . . 
Naples 



162 

151 

152 

144 

142 

136 

127 

122 

110 

113 

108 

102 

98 

93 

86 

80 

77 

69 

62 

58 

52 

49 

44 

41 

36 

33 

27 

24 

20 

16 

13 

6 

Mis. 



Route No. 56. Heidelberg— Munich. 

218 mis. ; 9 hrs. Fares, I. CI., 28 mk. ; II., 21 mk. 

1 . Heidelberg to Bruchsal. See Route No. 22, 

3. Stop 5 m. June, of lines to Bale and 
Stuttgart. Tunnel 400 feet. 
3. Cas. ru. ; chateau of Count Langenstein. 



Mis. 


1. 


Heidelberg . . . 


218 


21 


2. 




197 


24 




Heidelsheim 


194 


27 


3. 




191 



ROUTE NO. 56. 



561 



30 

36 

41 

44 

47 

51 

55 

BO 

63 

66 

66 

69 10 

72 11 

75 ; 

76i 



78J12. Esslingen 
84j 13. Plochingen . . . 
87 1 Reiohenbach 
89! 14. Ebersbach.... 
95 15. GOppingen . . 

97 Eislingen 

10016. Siissen 

10417. G-ingen , 

108 18. Geisl'gen 

127|19. Ulm 

Neu-TJlm 

Nersingen 

Leipheim 

Giinzburg 

Nen Offingen 

Offingen 

Burgau , 

Jettingen 
164 J 22. Dinkels'ben .. 
170 Gesserts'sen . , 



129 
134 1 20 
139 
142 21 
140 
148 . 
152| 
154! 



140 

134 

131 

129 

123 

121 

118 

114 

110 

91 

89 

84 

79 

76 

72 

70 

66 

64 

54 

48 

175128. Westheim j 43 

180 24. Augsburg ' 38 



183 Hochzoll 

189| Mering 

195; Haspelraoor 
202|25. Maisach ... 

214126. Pasing 

218 27. Munich . 



35 
29 
23 
16 
4 
Mis. 



4. Bretten 188 i 

5. Maulbronn 182 

6. Miihlacker 177 

Illingen 174 

Vaihingen 171 

7. G. -Sachsenheim . . 167 

8. Bietigheim 163 

9. Ludwigsburg 158 

Kornwest 1 m 155 

Znffenhausen | 153 

Peuerbach [152 

Stuttgart 149 

Cannstatt 146 

Untert'heim 143 

Obertuheim 142 



4. Birthplace of Melancthon. 1497; ancient 
watch-tower. 

5. Tunnel from the Rhine valley to that of 
the Neckar, 1,070 ft. 

6. Stop 5 m. June, for Pforzheim. 

7. e. Low wooded hills of the Stromberg and 
the Heuchelberg. x the Enz on a *viaduct 
1.000 ft. in length, 115 in height, 21 two story 
arches 

8. June, for Heilbronn. w. Fortress of Ho- 
henasberg on a height, now a state prison. 

9. Pop. 8.000 ; is the great military station of 
Wurtemberg ; founded 1733 by Duke Ludwig. 
6 mis. n.e. is Marbach. the birthplace of Schil- 
ler, 1759. 

10. Stop 10 to 20 m.; cap. of Wurtemberg ; 
pop. 100,000 ; modern town, with few struc- 
tures of historic interest. The principal build- 
ings are the Konigsbau, royal seat ; the Palace 
of the Queen Dowager; the New Palace, the 
residence of the King ; the Old Palace ; the 
Library, 300,000 vols. ; and the Museum of Art. 
In the Schiller-Platz is a mon. to Schiller. 
Leaving S., pass the Rosenstein Tunnel, x the 
Neckar; *views. 

11. A suburb of Stuttgart, and a favorite 
resort on account of its chalybeate springs and 
salubrious climate. 

12. On the Neckar ; pop. 15,000 ; founded by 
Emp. Fred. II., 1216. On a height above the 
town is the cas. of Perfried. 

13. At the confluence of the Neckar and Fils. 
J Rly. follows the Fils. 
e. the Hohenstaufen Mt.; 2,237 ft. 



14. Aft. , chateau of Filseck. 

15. Destroyed by fire, 1782. 

16. Tower of Staufeneck, o. r. 

17. e. Cas. of Scharfeneck, r., on height ; w. the range of the Alb. 

18. Stop 5 m. ; in a narrow ravine ; *scenery. Above is the town of Helfenstein, 
destroyed 1552. Leave the. valley of the Fils and ascend the table-land of the 
Rauhe-Alb, and pass over into the valley of the Danube. Near Ulm pass the 
citadel, where 30,000 Austrians surrendered to the French, 1805. 

19. Stop 10 m.; on the Danube ; pop. 25,000 ; fortified town ; one of the princi- 
pal garrisons of Wurtemberg. *The Munster, 1377, is one of the finest Gothic 
cathedrals of Germany ; x the Danube. 

20. On the opp. bank, e., are the town and abbey of Elchingen, where the Aus- 
trians were defeated by the French under Ney, 1805. 

21. Rom. Guniia ; on a hill at the confluence of the G'unz and Danube, w. 
Cas. of Reissenburg and Landestrost, on a wooded height. Leave the Danube. 



562 



ROUTE NO. 57. 



22. Bfr., c, chateau Zusameck ; country level. Aft., x the Zusam ; x tho 
Schmutter. 23. x the Wertach. 

24. Stop 5 m.; Rom. AugustaVindelicorum ; at the confluence of the Lech and 
the Wertach; pop. 50,000. Was an important city in the 16th cent. In 1530, 
1548, and 1555 ; were held the celebrated Diets of Chas. V. ; the cathedral dates 
from 995. Aft., x the Lech ; ban-en plain, with peat bogs. 

25. x the Amper. Pass the Dachauer Moos. 

26. x the Wiirm ; nr. M., e., pass the drill-grounds ; further on, Nymphenburg, 
park and palace ; founded 1663. Near is the Royal Porcelain Manufactory. 

27. See Munich. 



Mis. 
3 
5 
7 
10 
13 
15 
IS 
23 
24 
27 
31 
33 
36 
38 
40 
42 
46 
49 
12 

14 

25 
28 
32 



Route Ko. 57. Zurich— Munich. 

198 mis.; 9 hrs. Fares, I. CI., 40 fr. ; II.,28fr. 

1. x theSihl; x the Limmat ; iron bridge 
Tunnel % ml. 

2. x the Glatt. 

3. Stop 4 m.; 
Wulflingen, ru.; 



1. Zurich. 49 

2. Oerlikon j 46 

Wallisellen | 44 

Dietlikon 42 



Effretikon . . 
Kemp- thai 

3. Winterthnr .... 
Wiesendan'n.. . 
Islikon 

4. Frauenfeld. ... 
Pelwen j 24 

5. Miilheim j 18 

Marstetten -. 16 

6. Weinfelden 13 

Biirglen 11 

Sulgen 9 

Erlen 7 

Amriswyl 3 

7. Romans'n V 12 

8. Lindau . .j~137 

9. Hergatz 

10. Rothenbach ,\ 

Harbatzho'n . . . 

11. Oberstaufen 

42! 12. Immens't 

52 1 Waltenhof en . . . 

56 13. Kempten 

60 14. Betzigau 

68 15. Giinzach 

79|16. Biesenho'n 

83i Kauf beuren. . . . 
95; 17. Buchloe 



991 
102 1 
113: 
118: 
123 
133 1 



Igling ... 
Kaufering 
Tukenfeld . 
Grafrath . , 
Bruck . . . 
Pasing. 



137118. Munich. 



n. the Griinten, 5,709 ft. 
** Scenery to Kempten. 



June, for Coire. 
bfr. x the Toss. e. Hoch- 
pop. 9,500. Important rly. 
centre. Kyburg cas. s. 4 mis. 

4. On the Murg ; pop. 5,000 ; cap. of the 
Canton of Thurgau; cas. said to have been 
built by Count von Kyburg in the 11th cent. 

5. x the Thur ; cov. bridge. 6. Cas. Wein- 
felden, n. 

7. Take boat for Friedrichshafen, 1 hr., and 
Lindau, 1% hrs. 

Lake Constance is about 40 mis. long, 8 in 
its greatest width, and borders on five States. 
The banks are generally low ; the water of a 
clear light green color. Though presenting 
many scenes of great beauty, it is surpassed by 
most other Swiss lakes. 

8. Take boat for Romanshorn. On an island; 
Roman fort : place of great importance in the 
Middle Ages. On the quay bronze stat. of 
Max. II., 1856. Rly. crosses to the mainland 
on a long embankment, and thence makes an 
ascent of 1,360 ft. in 30 miles. 9. Extensive 
peat bogs. 

10. x valley on an embankment 192 ft. high, 
2,000 ft. long. 

11. **Scenery ; along the valley of the Con- 
stanzer-Ach. The Alpsee, 2 mis. long. 

12. Stop 5 m. *Scenery. s. The Algau- 

1 I Alps, with the double Miidele-Gabel. 8,721 ft.; 

Follow the Illerto Kempten. Nieder Sonthofen-Se» 



ROUTE NO. 58. 



563 



13. Stop 10 m.; alt. 2,400 ft.; e. tower of the Burghalde, on site of old Rom, 
fort. Aft. x the Iller. 14. Wagegg, r., on height ; peat bogs ; ravine. 

15. Summit of the rly.; alt. 2,772 ft. Monastery, now a brewery. Deep cut, 
entering the valley of the Wertach. 

16. Bfr. x the Wertach densely wooded country. Aft., on opp, side of the 
river, is the monastery of Irrsee, now a lunatic asylum. 

17. Stop 10 m. June, for Augsburg. 18. Station on the western side of the 
city. See Munich. 



Mis. 
17 
21 
24 
28 
32 
40 
45 
4S 
50 
55 
60 
63 
73 



Route No. 58. Munich — Verona. {The Brenner Route.) 
285 mis. ; 14 hrs. Fares, I. CI., 65 fr.; II., 48 fr. 

1. Station on the w. margin of the city. Rly. 
leaves to the w., makes an extended curve 
around the s. ande. to the n.e.n. The Bavaria 
may be seen. Pass several unimportant sta- 
tions to Haidhausen. June, for Vienna, s. 
View of the Alps. 

2. Enter the broad valley of the Attel. w. 
The Wendelstein. e. The Kaisergebirge and 
the Venediger. 

3. Stop 5 to.; some trains change cars. 
June, for Munich via Holzkirchen, a longer 
but more picturesque route ; junc. also for 
Salzburg. Rly. now follows the Inn to Inns- 
bruck. 

4. Aft. the walled town of Neubeuren ; cas. 
above. 

5. Vill. and Schloss 1 ml. w. Enter the 
mountains. 

6. w. Falkenstein, ru., on a height ; aft. Kirs- 
tein. 

7. Bavarian frontier. Enter the Tyrol, and 
approach Kufstein through a gorge. 

8. Stop from 5 to 30 to.; a fortress of the 
Middle Ages ; captured by Max. I., 1504 ; now 
a prison. 

9. Bfr. x the Inn ; alt. 1,680 ft. Aft., an- 
cient watch-tower. 

10. Summer resort ; silver and copper fur- 
naces, x the Inn. e. cas. Kropfsberg, ru.; 
cas. Lichtwer and Matzen occupied, w. The 
Vorder-Sonnwendjoch, 7,162 ft. w. chateau of 
Tratzberg, restored. 

11. Burned by the Bavarians, 1809. Copper 
and iron mines ; w . on height, the abbej r of 
Viecht, now a seminary. 

12. Noted for its salt works ; on height, tow- 



1. Munich. 

Zorneding 

Kirchseeon . . . 
Grafing 

2. Asling 

O. Munich 

3. Rosen h'm 

4. Baubling 

5. Brannenburg . . 

6. Fisclibaeh 

Oberaudorf 

7. Kiefersfelden . . 

8. Kufstein 

9. Worgl 

77 Kundl 

83 10. Brixlegg 

S5i Jenbach 

92 11. Schwiz 

101 1 Fritzens 

103 12. Hall 

109 13. Innsbruck 

115 Patsch 

122 14. Matrey 

125,15. Steinach 

129 16. G-ries 

133 17. Brenner 

138,18. Brennerbad. . 
144 19. G-ossensass 

Sterzing 

Franzensfeste . 

Brixen 

Klausen 

Waidbruck .... 

Atzwang 

Bozen 

Neumarkt 

21025. Salurn 

214 26. S. Michele.. .. 

219 Lavis 

2-25 27. Trient 

230 Matarello I 55 

240 28. Roveredo I 45 

24329. Mori 42 

251 30. Ala 34 

260 31. Peri : 25 

285 32. Verona Mis. 



148' 20. 
157'21. 
166 

171 22. 
177; 23. 
181 

188 24. 
2041 



285 
268 
264 
261 
257 
253 
245 
240 
237 
235 
230 
225 
222 
212 
208 
202 
200 
193 
184 
182 
176 
170 
163 
160 
156 
152 
147 
141 
137 
128 
119 
114 
108 
104 
97 
81 
75 
71 
66 
60 



564 ROUTE NO. 58. 

er of Miinze. Aft., e., the cas. Amras, the residence of Archduke Ferd. II, 
(1590). x the Inn ; viaduct. 

13. Stop 10 m.; cap. of the Tyrol ; pop. 17,000 ; in the midst of the Tyrolean 
Alps ; alt. 1,870 ffc. The wooden bridge was the scene of several sanguinary bat- 
tles between the Tyrolese and Bavarians, 1809. The Hofkirche contains the 
mon. (but not the remains) of Emp. Max. I., surrounded by 28 colossal statues in 
bronze (1513). From Innsbruck the rly. follows the Sill to Brenner the summit 
of the pass. w. The abbey of Wiltau. Tunnel 2,200 ft. w. The Rutzbach, stream 
and gorge. Numerous tunnels ; continuous ascent. Along the east bank of the 
deep narrow valley of the Sill ; x x the Sill ; ** scenery. 

14. 3,241ft.; the chateau of Trautson. x x the Sill. 

15. 3,448 ft. Rly. at a great elevation above the valley ; soon makes an extended 
detour to the e. up the Schmirner-Thal, returning on the opp. side, high up ; 
**views ; curved tunnel at St. Jodok, returning along the Schmirner-Thal. 

16. Bfr. tunnel 4,100 ft. alt. Aft., e., robber cas. of Lueg, r. w. The small 
deep green Brennersee. 17. 4,485 ft. The summit of the pass. The dividing line 
of the waters of the Adriatic and Black Seas. Rly. now follows the Eisack. 

18. Rly. turns to the w. along the Pflerschthal. Soon enters the mountain ; 
makes a complete turn in the mountain tunnel, 2,400 ft. long, returning on the 
opp. side far below. 19. 3,481 ft. Road far above the Eisack ; *scenery. 

20. 3,107 ft. Town presents a pleasing and inviting appearance. Aft., e., cas. 
of Sprechenstein ; w. cas. of Reifenstein ; w. cas. of "Welfenstein, r. Sta. Gras- 
stein, at the entrance of a defile, in which the Tyrolese defeated the Saxons, 1809. 
Strongly fortified. 21. Stop 3 m. June, of the Pusterthal rly. 

22. 1,791 ft. A single street in the defile. From early times an important mili- 
tary position, w. On height the former monastery of Seben, afterward a Rom. 
castle ; now a baronial residence. Valley becomes narrower ; *scenery. 

23. Cas. Trostburg ; seat of Count Wolkenstein. * Scenery. Chestnut forests. 

24. Stops m.; alt. 850 ft.; pop. 10,000. At the confluence of the Talfer and 
Eisack. Houses with peculiar roof windows. *Views e. Aft., x the Eisack ; 
confluence of the Eisack with the Adige. Rly. follows the A. to Verona ; x the 
Adige. 25. The last German village. Cas. on a rocky pinnacle. 

26. Station is an old Augustinian monastery, 1143 ; x the Adige. 

27. 715 ft.; pop. 17,000 ; Rom. Tridentum ; mentioned by Strabo and others ; 
numerous castles and palaces. Above is cas. of Buon Consiglio, formerly the 
episcopal seat, now a barrack. The celebrated Council of Trent sat in the ch. of 
S. M. Maggiore, 1545-63, 18 years. 

28. Pop. 8,000. Extensive culture of silk, producing annually 120,000 lbs. 
Below this point, the valley is termed the Val Lagarina. Aft., e., is a castle in 
which Dante resided for a time, near 1302. 

29. Noted for its asparagus. 

30. Stop 5 7n.; usually change cars, conductors, language, and time. 

31. First Italian station ; rly. enters the narrow defile of Chiusa di Verona, a 
military position of great strength and importance ; was attacked by the Mila- 
nese, 1155, and by the French, 1796-97. w. On height Rivoli. Stations : Dom 
egliara, Pescantina, and Parona. x the Adige. At S. Lucia line unites with rly 
of Milan to Venice. 

32. Verona to Venice or Milan. See Route JVo. 46. 




fl\oXV\ A- \> HAmburq 



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AfSy MingeH 
^>0 0** J&euznadi 
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(Trier J 

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Bamberg 



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Oppenau 













Bucliloc, 



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RMANY. 



East. 



ROUTE NO. 59. 



565 



Route No. 59. Cologne— Berlin. 



362 mis.; lOhrs. 



Fares, 1. CI, 53 m.; II., 40 m. 

1. See Cologne ; rly. crosses the Rhine, and 
then, turning to the 1., follows the river to Dus- 
seldorf. 

2. Modern city of S0,000 pop. 

3. Btyond is an extensive mining district, 
with numerous iron works. At Essen are 
Krupp's celebrated Sceel Works, covering 63 
acres, employing 12,0(0 workmen. 

4. On both banks of the Leine ; pop., 127,000 ; 
possesses an art gallery and a palace, which is 
made an occasional residence by the Emperor. 
In the Waterloo Platz is the Waterloo Col- 
\imn, in honor of 500 Hanoverians who fell in 
that memorable battle. 5. June, of rly. for 
Leipsic. 

6. Birthplace of Wincklemann, the celebrated 
antiquarian scholar, x the Elbe. 

7. For many miles before reaching Berlin, 
the scenery becomes monotonous. Station on the s.w. margin of the city. 

For a cab, application should be made to the "controlem-,' 1 or cab-master, at 
the station entrance, who will hand the traveller a number designating the 
carriage. 



Mls.i 


i 




362 


1 


2 


Deutz . . 


361 
337 


25 


DQsseldorf 


45 


3 


Oberhausen 


317 


94 




Hamm (19,000) . 


268 


1631 




Minden (17,000) .. 


199 


191 


4 


Wunstorf 


171 
158 
148 


204 


Hanover 


214 




9?4 






128 
114 


848 




?53l 


5. 


Vorsfelde 


109 
103 


259 


Oebisfelde 


271 






91 


290 




Vinzelberg 


72 | 


297 


6. 


Stendal 


65 1 


305 




Schonhausen 


57 


319 




Rathenow 


43 j 


325 




Nennhausen 


37 


344| 






18 


354 




Spandau 


8 


mi 


7. 


Berlin 


Mle. 



Route No. 60. Berlin— Dresden. 

108 mis. ; 3 hrs. Fares, I. CI., 14.50 m. ; II., 11 m. 

1. Dresdener Banhof. in the s.w. suburb. 
The entire line from Berlin to Dresden lies 
through a country comparatively barren and 
uninteresting until near the latter city, along 
the valley of the Elbe. 

2. All Berlin trains stop at Friederick Stadt ; 
the through southward express trains go to the 
Altstadt station. For a carriage, application 

should be made to the station cabmaster, who will give the traveller a number 
designating the carriage. 



Mis. 


1. Berlin 


108 
88 
70 
44 
32 
21 
11 
Mis. 


9,0 




38 


Golssen 


64; 

76| 

871 

97 

108 


Dnbril 

2. Dresden 



Route No. 61. Dresden— Prague— Vienna. 

372 mis. ; 13 hrs. Fares, I. CI., 47 m.; II., 35 m. 

1. Soon after leaving Dresden the rly. ap- 
proaches the Elbe, which it follows with little 
interruption to Prague. 



MR1. Dresden 
7 Miigein . . . 

11 2. Pirna 

22 3. Konigstein 
25 Krippen. .. 



372 
365 
361 
350 
347 



2. w. Old fortress, now an asylum ; town was 



566 



ROUTE NO. 62. 



29 

37 

51 

65 
101 
118 
15(5 
183 
207 
220 
251 
276 
315 
338 
354 
366 
372;9. 



Schema 

Bodenbach. 

Anssig 

Lobositz 

Kralup 

Prague .... 

Kolin 

Pardubitz 

Brandeis 

Bohmisch 

Skalitz 

Briinn 

Grussbach 

Mistelbach 

Wolkersdorf 

Stadlau 

Vienna 



343 

335 

321 

307 

271 

254 

216 

189 

165 

152 

121 

96 

57 

34 

18 

6 

Mis. 



8. The capital of Moravia ; pop 

9. Approaching Vienna ; x the 
section of the city. 



taken by the Swedes, 1639. Fortifications lev- 
elled, 1758. Aft. numerous quarries. 

3. w. Commanding fortress of Konigstein ; 
e., opp. Lilienstein, memorable for the surren» 
der of 14,000 Saxons to Fred, the Gt., 1756. 
♦Scenery. 

4. Frontier ; customs examinations ; traina 
wait from 30 to 60 min. 

5. *Schreckenstein, cas. ru. 

6. See Prague. 

From Prague to Vienna there are several 
routes, of similar fare and time. 

7. w. On eminence, mon. in honor of a vic- 
tory by the Austriana over Fred, the Gt., 1757. 

, 75,000. 

Danube. Station in Leopoldstadt, the eastern 



Mis. 
18 
24 
34 

38| 
46 
51 
59 
66 
74 

111 

130 
145 
15(5 
161 
172 
185 
204 
210 
224 



Route No. 62. Munich— Vienna. 

262 mis.; 10 hrs. Fares, I. CI., 41 m. ; II., 30 in. (via 
Salzburg, fare 4 m. more). 

1. Train leaves on the w. margin of the city, 
passes to the s. around to the e. On the n. 
may be seen the Bavaria ; x the Isar ; n. luna- 
tic asylum. 

2. Battlefield on which, 1322, Emp. Fred, of 
Austria was taken prisoner by the Bavarians. 

3. x the Isen. Tomb of Tilly in the ph. 

4. Frontier. Customs examinations ; x the 
Inn; *scenery. 

5. June, of line to Nuremberg. 

6. June, of Munich- Vienna line, via Salzburg. 

7. A town of 30,000 inhabitants, pleasantly 
10i i situated on the Danube. From Linz to Vienna, 



1. Munich 

Schwaben 

Horlkofen 

Dorfen 

Schwindegg . , 

2. Ampfing 

Miihldorf 

3. Neu-Oetting . 
Marktl 

4. Simbach 

Obernberg. .. 

5. Neumarkt 

6. Wels 

7. Linz 

8. Enns 

St. Valentin . 
St. Peter . 
Amstetten... 
Pochlarn 

9. Melk 

St. Poelten . . 

238 10. Neulengbach 
255 Purkersdorf . 
26211. Vienna... 



262 
2-14 
238 
228 
224 
216 
211 
203 
196 
18S 

151 

132 

117 
106 



90 

77 
58 
52 
38 
24 
7 
Mis. 



via the Danube, is a most charming trip, 
steamer leaving in the morning and arriving at 
Vienna the same evening. Scenery not less 
romantic than that of the Rhine. Aft. x the 
Traun, near which was fought an obstinate 
battle by the Austrians and French, 1809, in 
which the latter lost 6,000 men. 

8. The fortifications of the place were erected from the money paid by England 
for the ransom of Richard, Camr-de-Lion. x the Enns. 

9. x the Melk ; *scenery. 

10. Pass a viaduct and two tunnels ; *scenery. 



ROUTE NO. 63. 567 

11. Station on the w. margin of the city. Ringstrasse, the location of the prin- 
cipal hotels, is about \% ml. dist. Tramway.'; pass directly from the station to 
Ringstrasse. For a carriage application should be made to the " controleur " at 
the station entrance, who will give the traveller a number designating the car- 
riage. See Vienna. 



Route No. 63. **The Danube. 

The most attractive scenery of the Danube is to be found between Passau and 
Vienna. Four hours below Passau is Linz, a more desirable point for taking or 
leaving the steamer, as here the railway to Munich may be taken, and also be- 
cause the trip from Linz to Vienna may be made in a single day. 

Linz to Vienna, 126 miles ; usual time, down, 8 or 9 hours ; up, 18. Fare, 
$2.75. Meals can be obtained on board. 

The scenery of the Danube surpasses that of the Rhine in grandeur and beauty, 
the mountains being generally more elevated and covered with forests. The 
river frequently spreads out into a broad, shallow stream, abounding with low 
islands composed of pebbles. The current is rapid, and the water usually of a 
clear greenish blue. 

Linz, with a population of nearly 40,000, but with the appearance of little busi- 
ness or energy, is delightfully situated on the south bank, the north being dotted 
with charming suburban residences, and the elevated hills being crowned with 
churches, monasteries, or other commanding structures. 

Leaving Linz, the bank on the north continnes mountainous for some miles, 
that on the south low and uninteresting. The river flows to the n.e. for about 2 
mis., and then turns to the s.e. Passing beneath the Prag and Linz railway 
bridge, the white pilgrimage church of St. Magdalen is seen on the summit, of 
the high ground to the north. Further on, n., is the Schloss Steyeregg, the 
seat of Count Weissenwolf. 

s. Zizelau, vil., near the mouth of the Traun. Numerous islands. 

s. Enns, vil., with the castle of Ennseck, the fortifications of which were built 
with the ransom money paid by England for Richard, Coeur-de-Lio?i. 

16 mis. (Vienna, 110) ; n. Mauchhausen, vil., with the Schloss Pragstein on the 
river bank ; two bridges. The river now approaches the hills on the s., leaving 
the northern hills at a distance. 

s. Erlakloster, with a large building, formerly a nunnery. 

25 mis. (V. 101) s. Wallsee, vil. on a hill, with a schloss, the seat of the Duke 
of Saxe-Coburg. 

n. The schloss of Clam, dist. s. Ardagger, vil. River turns to the n.; the 
hills approach on both sides ; *scenery. 

35 mis. (V. 91 mis.) n. Grein, vil., above which is Greinburg, a castle of the 
Duke of Coburg ; also the large hydropathic institution of Kreuzen, dist. 

Island of "Worth, with the ruin of Werfenstein. Opp., n., is the ruin of the rob- 
ber castle of Struden and vil. of Struden. n. Hausstein, a ruined castle on a 
lofty rock. Navigation through this pass was formerly attended with much dan- 
ger from sunken rocks, now removed, n. St. Nicolai, *scenery, much frequented 
by artists. 



568 ROUTE NO. 63. 

n. Sarblingstein, vil. with ancient watch-tower. 

s. Ruins of Freyenstein ; n. influx of the Isperbach ; s. the small chateau of 
Donaudorf. n. Persenberg, on a projecting rock, a chateau of the Emperor. 
46 mis. (V. 80 mis.) s. Ips, with a conspicuous lunatic asylum and almshouse, 
s. influx of the river Ips.; s. vil. of Sarling ; railway along the bank ; river turns 
to the north ; s. Saussenstein, with ruins of the Abbey of G-ottesthal, burned by 
the French, 1809. River turns to the e. ; 50 mis. (V. 76 mis.) n. Malirbach, vil. 
Above on a high hill is the Maria Taferl, a pilgrimage church, which is visited 
annually by more than 100, 000 devotes. 

56 mis. (V. 70 mis.) s. Pochlarn, the legendary residence of Rudiger, who here 
gave the brilliant reception to Chriemhild, of the Nibelungenlied. Opp. is Klein- 
Pochlarn ; n. Ebersdorf ch.; n. the castle of Weiteneck with towers and pinnacles, 
said to have been built by Rudiger ; recently restored. 

n. Lubereck, vil. 60 mis. (V. 66 mis.) s. Melk or Molk, vil. above which is a 
celebrated Benedictine Monastery, 1089. This abbey has been several times be- 
sieged. Melk is mentioned in the Nibelungen. 

s. The influx of the Bilach. 

The valley of the Danube is now narrowed to a gorge many miles in length, 
called the Wachau, abounding in romantic scenery. 

s. Schonbiihl with a monastery and the chateau of Count Beroldingen. 

s. Aggstein, a robber castle, from the walls of which prisoners were thrown 
upon the rocks beneath. 

n. The Teufelsmauer (devil's wall) extending from the river to the summit of 
the hill. 7 mis. n. Spitz, vil. with ruins of a castle, and an ancient church. 

n. St. Michael, vil. On the roof of the ch. may be noticed some terracotta 
hares in commemoration of a snow, which so buried the ch. that hares ran over it. 

n. Wesendorf, vil. ; n. Weissenkirchen, vil. s. Another Teufelsmauer ; river 
turns to the s. s. Rossatz, vil. 

85 (V. 41) mis. n. *Diirrenstein of the Prince Starhemberg where in 1192-3 
Richard Coaur-de-Leon was imprisoned for 15 months, and where he is said to 
have been discovered by his faithful Blondel singing under his window. *Scenery ; 
river turns to the e. 

80 (V. 46) mis. n. Stein, vil. bridge ; near which are the ruins of a castle, de- 
stroyed 1486. 

Adjoining Stein, separated by the old monastery buildings, is Krems, opp. is 
Mautern, vil. ; s. dist. on an eminence the commanding Abbey of G-ottweih of the 
Benedictines. 

Hills to the n. recede, numerous islands : s. dist. ch. of Wetterkreuz on an emi- 
nence; s. Hollenburg, vil. with ruins and a villa above. 

Hills on the s. recede. Scenery less inviting, s. influx of the Traisen. 

105 mis. (V. 21 mis.) s. Tulln, the Comigena of the Romans, one of the most 
ancient towns on the Danube ; mentioned in the Nibelungen. 

Bridge of the Prag Vienna railway. 

The hills on the south approach the river and afford numerous commanding 
Bites for the Viennese nobility. 

114 (V. 12) s. Greifenstein, the seat of Pr. Liechtenstein. River turns to the 
south. 

s. On the summit of the mountain is Klosterneuburg, the wealthiest Abbey of 



ROUTE NO. 64. 569 

the Augustines in Austria, said to own two-thirds of the immediate environs of 
Vienna. 

As the Danube approaches Vienna it divides into three channels, the principal 
of which is at the left. The branch upon which the city is located being com- 
paratively narrow, the Danube boat stops at Nussdorf, where the river divides 4 
miles from the city, passengers being there transferred to a smaller boat. 

The landing in Vienna is directly in front of the Hotel Metropole. 



Route No. 64. Spain and the South of France. 

The most desirable portions of Spain may be comprised in a two weeks' excur- 
sion, embracing Madrid, the Escuiial, Seville, Cordova, Granada, the Alhambra, 
and Gibraltar. The usual route via Bordeaux, returning via Marseilles, or vice 
versa, may be made to include, at a small additional cost, Orleans, Tours, Poitiers, 
Bordeaux, Bayonne, Valladolid, Malaga, Cadiz, Cartagena, Valencia, Barcelona, 
Marseilles, Nimes, Avignon, and Nice. 

Attractive as is Spain in its art, scenery, and historic associations, the visitor 
will find an occasional demand for a heroic and philosophic acquiescence in 
Spanish customs and methods of travel. 

Bradshaw states (1882) : " The railways are slow but comfortable ; the stations 
indifferent ; the fares high ; the conveniences for ladies and families miserable ; 
the refreshments dear and indifferent ; the diligences crowded and dirty ; the 
steamers irregular and not clean ; and everything dear." He also adds: " Do not 
expect the comforts of a French or a Swiss hotel ; be content with plain food, and 
keep your temper, as Spaniards will not be hurried, and have a keen sense of 
personal dignity." 

The best seasons for visiting Spain are March, April, October, and November. 
Passports necessary ; should be viseed in London or Paris. 

Paris to Madrid (via Bordeaux), 900 mis. ; 35 hrs., $37 : $27. 

Orleans (or'-la-awfi), Fr. ; from Paris, 76 mis. ; 2 hrs., $2.75 ; $2. Hotel 
cT Orleans ; noted for its cathedral and the houses of Joan of Arc, Fr. I., and 
Diana of Poitiers. 

Tours (tour), Fr. ; from Paris, 146 mis. ; 4 hrs., $6 ; $4.25 ; on the Loire ; 
H. de V Univers. Near by was the celebrated victory of Ch. Martel over the Sara- 
cens, a.d. 732. 

Poitiers (pwa-te-a), Fr. ; 2U7mls., Gd. Hotel du Palais. Four mis. dist. the 
Black Prince defeated and took King John, 1356. 

Bordeaux (bor-do), Fr. ; 363 mis., 9 hrs. ; $14 ; $11. Hotel de Paris ; 
pop. 215,000 ; on the Garonne, 70 mis. from the sea. It has an extensive com- 
merce, especially in wines and brandies. There are few objects of historic interest 
except the remains of the Pal. of the Rom. Emp. Gallienus. 

Biarritz (be'-ar-ritz'), Fr., 16 hrs. ; the favorite resort of Louis Nap. and Em- 
press. Irun (ee-run), the frontier. Burgos (boor'-gos), Sp., pop. 33,000 ; Hotel 
del Norte ; noted for its *cathedral of the 13th cent. 

Tlie Es-co'-ri-al (Escurial), Sp., 32 mis. from Madrid ; Hotel Miranda. This 
magnificent structure, built by Philip II., 1685, after the similitude of a gridiron, 
and dedicated to St. Lawrence, comprises a palace, a ch., and a monastery, and ia 
about 740 ft. by 580. The chapel is of magnificent dimensions, being o25 ft. in 



570 ROUTE NO. 64. 

length and 230 in width. Beneath the high altar is the royal vault, 36 ft. in diam. 
and 38 high, where only kings and the mothers of kings may rest. Here lie the 
remains of Emp. Ch. V., Philip II., and others. Among the more interesting 
rooms are the Sacristia, the Cora, Queen Isabella's apartments (shown at one 
o'clock), the suite of the Infantas, and the room where Philip II. died. 

Madrid (mah-drid / ) ; H. de Londres ; pop. 400,000 ; is situated on a bleak 
plain about 2,300 feet above sea level, and possesses an exceedingly uncertain cli- 
mate. It was located here by Philip II., from the supposition that this place was 
the exact centre of his kingdom. Among the places of special interest are the 
Royal Museum (the Prado) ; the Royal Palace ; the Armeria ; the Academy of San 
Fernando ; the Royal Stables ; the Bull Ring ; the Plaza Mayor, with a statue of 
Philip II. ; the Puerta del Sol, memorable for the massacre by Murat, 1808; and 
the Prado, a broad, well-shaded boulevard, the principal resort of fashion and 
beauty in the afternoon, especially of Sunday. 

The Eoyal Museum, the Prado. See p. 456. 

The Royal Palace, Palacio Real, the residence of the royal family, ia a magnifi- 
cent structure erected by Philip V. Permit obtained of the Mayordomo. Among 
the more important apartments are the Throne Room : the Royal Chapel, seldom 
open ; the Library ; and the China Cabinet. In the garden is a *bronze eques- 
trian statue of Philip IV. (1640). 

The Royal Stables, la Cochera Real, adjacent to the palace, may be visited on 
permit from the Caballerizo Mayor. 

The Museum of Armor, la Armeria Real, upon the s. side of the palace, is open 
to the public daily, 10-3 : fee ; free on passport, small gratuity. Among the in 
numerable objects are the armors of Chas. V., Chr. Columbus, Queen Isabella, 
Philips II. and III. ; the writing-desk and the camp-bed of Chas. V. 

The Academy of San Fernando contains about 300 pictures, among which are 
**El Tinoso, St. Francis, **St. Elizabeth of Hungary, and several others by 
Murillo. On the ground floor is a Coll. of Casts. 

The Bull Ring, or Plaza di Toros. is a large amphitheatre with seats for about 
12,000 spectators. Exhibitions take place on Sun. and Mon. from Apr. to Oct. 
Scats should be secured for the shady side. 

The Grand Opera House, or Teatro Real, with 2,000 seats, ranks, both as to the 
building and the excellence of its representations, as one of the first in Europe. 

The Churches possess little interest. Royal Marriages are solemnized in the Ch. 
of the Atocha at the e. end of the Prado. 

Routes : To Pabis, 900 mis., 37 hrs., $37 ; $27. To Lisbon, 411 mis. ; 21 hrs., 
$17; $12.50. To Malaga, 393 mis. ; 18 hrs., $16 ; $12.50. To Seville, 356 mis. ; 
15 hrs., $14.30; $11. To Granada, 427 mis.; 21 hrs., $18; $14. To Sara- 
gossa, 211 mis., 10 hrs.; $8.50; $6.50. To Barcelona, 438 mis.; 21 hrs., 
$17.50 ; $13. To Cordova, 274 mis. ; 12 hrs., $11 ; $8.50. 

Cor-do - va, pop. 50,000. H. de Paris ; junc. of rlys. from Madrid, Seville, and 
Granada ; on the Guadalquiver. It was held by the Moors from 756-1236, and 
abounds in Moorish and Roman antiquities. **The Cathedral, originally a 
Roman temple, was converted by the Moors into a Mosque. 786, and has 19 naves, 
33 aisles, and 800 columns. Cordova is the birthplace of Seneca and Lucan. From. 
Cordova to Madrid, 274 mis. ; to Malaga, 119 mis. ; to Seville, 81 mis. 

Se-ville', pop. 135,000. H. de Paris ; the Rom. Hispalis, on the Guadalqui- 



ROUTE NO. G4. 571 

ver, 45 mis. from the ?ea, was conquered by the Moor?, 711. and remained under 
their domination for five centuries. The Spanish Inquisition was here first es- 
tablished. Hadnan, Trajan, and Theodosius were born here. 

The two great objects of interest in Seville are the Cathedral and the Alcazar. 

**The Cathedral, founded 1403, upon the site of a Moorish mosque, is one of the 
largest ever erected. The Giralda tower was the ancient minaret. It has 5 naves, 
37 chapels ; and its 93 windows are among the finest in Spain. In the Royal Chapel, 
or Capella Real, are the tombs of Alfonzo X., and Queen Dona Beatrix, wife of 
Ferdinand ; and in the Sacristia Mayor was that of Murillo : and near the west 
door, that of Fernando, the son of Christopher Culumbus. One of the organs 
is repined to have 5,300 pipes. Among the noted paintings are : in the Baptistery, 
**St. Anthony of Padua, by Murillo ; in the chapel of San Pedro, several by Zur- 
baran ; in the chap, of N. S. de Belen, * Virgin and Child, by Cano ; in Santiago, 
St. James, by Roelas ; in the Sacristia Mayor, San Isidoro and San Leandro, by 
Murillo, and The Descent from the Cross, by Campana ; also a St. Christopher, 
30 ft. in height. 

The Alcazar (al-cah-thar', house of Cassar), the former palace of the Moorish and 
Catholic kings, dates from the 10th cent. The greatest interest is in the apart- 
ments of Ferdinand and Isabella, where the latter gave audience to Columbus. 
This is the Royal residence whenever the family visits Seville. 

The Museum, daily, 10-4, free (small gratuity). The gem of the collection is 
Thomas Aquinas, by Zurbaran, taken to Paris by Soult : returned 1815. In the 
Sala de Murillo are 23 paintings by this master ; among which are **The Concep- 
tion, and **St. Thomas, considered by the artist himself as his masterpiece. 

His celebrated Moses Striking the Rock, is in the Hospital Santa Caridad. 

To Cordova, 81 mis. To Cadiz, 83 mis. 

Ca'-diz, Sp., pop. 60,000. H. de Paris. The city possesses few buildings or 
places of interest. In the Capuchin Monastery is Murillo's St. Catheri?ie, around 
which lingers a painful interest, as it was while painting this picture that the great 
master fell from the scaffolding, receiving the injury which terminated his life. 

To Seville, 83 mis. ; 4 hrs., $4 ; $3. 

Steamers ply nearly every day between Cadiz and Gibraltar, 10 hrs., $4.50. 

Gibraltar, pop. 20,000 ; If. Royal. The town itself presents few attractions. 
The fortifications can be visited only by permit, which is readily obtained at the 
hotels. This place was first made a military position by Tarik in 711. Taken 
by the English in 1704, unsuccessful attempts t > retake it were made in 1727, 1719, 
and 1782. Steamers nearly every day to Cadiz and Malaga ; also frequently to 
Eng., and all Mediterranean ports. 

Mal'-a-ga, pop. 80,000 ; H. Alameda ; boasts the finest climate and one of the 
most charming situations in Spain. Its most delightful promenade is the Alameda, 
ornamented with fountains and statues. It possesses no buildings to detain the 
visitor. Steamers frequently to Gibraltar, Barcelona, Marseilles, Algeria ; also to 
Liverpool and New York. To Granada by rail, 118 mis. ; 6 hrs., $6 ; 04.50. 

Granada (gra-nah'-dah), pop. 75,000: H. Washington frving ; most delight- 
fully situated on a table-land 2,440 ft above sea level. In the Cath. 8-12 and 3-5, 
are the magnificent tombs of Ferdinand and Isabella, and Joanna and Philip. The 
great attraction of Granada is 

ThtAl-ham'bra (red house, from its red stone) ; 10-12 and 2-5. It is situated upon 



572 ROUTE NO. C4. 

the summit of a hill ; was erected, 1248, by Abu Abdallah, and for two and a half 
centuries was the residence of the Moorish kings. For many years after the con- 
quest the palace was given up to decay and ruin ; it is now being restored to ita 
primitive beauty. As the visitor will need a valet-de-place, it is necessary only 
to indicate the principal objects of interest : the Gate of Justice ; the Virgin, 
painted by St. Luke ; the Torre de la Vela, on which the Christian flag was first 
unfurled at the conquest : the Palace of Ch. V., injured by an earthquake and 
unfinished ; the Fish Pond ; the celebrated *Alhambra Vase ; the Chapel ; the 
lloom of Repose; **the Hall of the Abencerrages ; **the Hall of the Ambassa- 
dors: the Prisons ; the Dressing-Room of the Sultanas; the *Saloon of the two 
Sisters ; the *Court of Lions ; the Torre de los Pecos ; the Torre de las Infantas ; 
and the Apartments of Washington Irving. 

The Generali fe, the summer residence of the Moorish kings, is upon the oppo- 
site side of a deep ravine. Permit necessary. Only a small portion of the build- 
ings now remain. 

Bar-ce-lo'-na, Sp., pop. 300,000 ; LT. de las Cuatro Naciones ; is the most 
enterprising city of Spain, and has little in common with the other cities of the 
realm. In the general appearance of many of the streets and buildings, as well 
as in the evidences of business thrift, it is entirely a modern city. It has a large 
commerce and numerous manufactories. Here, in 1401, was founded the firs=t 
bank. The Opera House is said to be the largest in the world. Steamers ply from 
Barcelona to nearly all Mediterranean ports. 

From Barcelona to Madrid, 43S mis. ; 21 hrs., $17.50 ; $13. To Marseilles, 
about 400 mis. ; 20 hrs. 

Marseilles (mar'-sailz'), Fr., pop. 320,000 ; LT. de Foailles; is the most im- 
portant commercial city of France. Although supposed to have been founded six 
centuries prior to A.D., it presents few objects of historic interest. The old town, 
with narrow, ill-looking streets, lies upon the slope to the north of the harbor ; 
the new town, to the e. and s., presents the appearance of a modern city with 
broad avenues, elegant buildings, and numerous fountains. Among the more 
noteworthy objects are the Exchange, the New Cathedral, the Hotel de Ville, the 
Zoological Gardens, the Pal. des Arts, and the Mus. of Antiquities. 

Routes: To Paris, 536 mis.: 15>£ hrs., $21; $16. To Lyons, 218 mis.; 
7 hrs., $8.60 ; $6.20. To Nice, 140 mis. ; 7 hrs., $5.50 ; $4. To Barcelona, 
about 400 mis. ; 20 hrs. Steamers to all Mediterranean ports. To Algeria, 
36 hrs. ; $16. 

Nimes, Msmes (neem), Fr., pop. 60,000 ; R. du Luxembourg ; the Rom. Ne- 
mausus, is noted for its well-preserved Amphitheatre and Temple, and other 
Roman structures. 

**Tke Amphitheatre is 437 ft. in diameter, 140 ft. in height, and had 32 rows 
of seats, accommodating about 20,000 spectators. The date of its erection is un- 
known. It was occupied by the Visigoths and Saracens as a fortress, and is now 
used for an occasional bull-fight. 

**The Maison Carree (may-zon car-ray'), 88 ft. by 40, is one of the most beau- 
tiful Corinthian temples existing. It dates probably from the time of Marcus Au- 
relius. It was afterward converted into a church, and later into a council hall, a 
stable, a convent, a tomb, a storehouse, and finally into a museum. It has 10 de- 
tached and 20 engaged Corinthian columns. Within the Museum are numerous 



ROUTE NO. 64. 573 

antiques found in the vicinity. In the museum of pictures is Delaroche's cele- 
brated " Cromwell and Ch. L" Among the other ruins are two Eom. Gateways ; 
the Temple of Diana ; and a Bath. Nimes is the birthplace of Guizot. 

Fifteen miles distant is the renowned 

** Punt dn Gard, an aqueduct bridge, 882 ft. in length and 160 in height. It 
consists of 3 stories, the lower of 7 arches, the middle of 11, and the upper of 35. 
The whole structure is nearly perfect. It is supposed to have been erected by 
Agrippa about B.C. 20. 

Avignon (a-veen-yofi), Fr., pop. 40,000 ; H. de TEurope; is noted especially 
as the Papal Scat during the " Babylonish Captivity ;" 7 popes and 8 anti-popes 
having reigned here from 1305-1424. The Cath. (11th cent.) contains the tombs 
of Pope John XXII. and Benedict XII. In the choir is the Papal throne. Five 
popes were here consecrated. 

Tlie Papal Palace, originally both a castle and a monastery, now a barrack, was 
erected by Clem. V. and Benedict XII. Its walls are 100 ft. in height. Rienzi 
was imprisoned in the Trouillais tower. The visitor will be interested in visiting 
the Chamber of Torture ; the Oubliette ; and the Glaciere, the prison of the In 
quisition, into whose deep vaults 60 persons, dead and dying, were hurled by the 
Revolutionists in 1791. Here also, in the Revolution, prisoners were gathered in 
a narrow passage and despatched by grape-shot from a cannon. la the Museum is 
a considerable coll. of antiquities : and in the garden is a monument to Petrarch's 
Laura. Vaucluse, the home of Petrarch, is 16 mis. distant. 

To Lyons, 143 mis. ; 4^ hrs. To Nimes, 31 mis. To Marseilles, 75 mis. ; 
2J£ hrs. 

Nice (nees), Fr., pop. 80,000; R. de France; from its delightful climate, is 
one of the most desirable winter resorts on the Mediterranean coast. There is no 
fog. and the winter temperature rarely reaches the freezing point. Flowers are 
perennial, and fruits abundant in every season. Hotels are numerous and excellent. 

To Marseilles, 140 mis. ; 7 hrs., $5.50 ; $4.20. To Genoa, 115 mis. ; 6 hrs., 
$4 ; $3. Steamers also to Marseilles and Genoa. 



Q 



[advertisements.] 



Antwerp] HOTEL DE LA PA IX. E. COLLIN. 

CENTRAL SITUATION. 
REASONABLE, CLEAN, AND COMFORTABLE. 

Arnhem] GRAND HOTEL BELLE-VUE. 

First-class family Hotel and Pension. Refined home, offering every 
advantage as to comfort, table, and situation. 



Baden-Baden,! VICTORIA HOTEL. 

J First-class house ; beautiful situation on the Promenade ; 

nearest the Conversation House and new Frederics Bath. 
Picturesque view ; fine parlors and bath rooms. Lift. Table d'hote 
at 1 and 6 o'clock. Moderate charges. Pension during the early 
and the latter part of the season. Principally frequented by Amer- 
icans and English. 

Baveno, 1 GRAND HOTEL BAVENO. 

Lake Maggiore._J 

' First-class house. Best situation on the lake ; com- 
manding most magnificent views of the Alps, the 
Lake, and the Borromean Isles. Prices moderate. 

Berlin] 

HOTEL D'ANGLETERRE. 

First-class Hotel, within short distance of all the 
sights of the city. 
PREFERRED BY AMERICAN TRAVELLERS. 

RUD. SIEBELIST, Proprietor. 

Berlin] PENSION KAHRN, 

Zimmer Str., 37, I. 

First-class. Noted for its superior comfort, excel- 
lent table, and good society. Centrally located. 

Bol ogna] GKRAND HOTEL BKUN. 

A splendid old palace, and one of the best hotels in Italy. Famous 
also for its exquisite Italian wines, produced and largely exported by 
the proprietor. J. F. FRANK. 

Branch House : Grand Hotel Feder, Turin. 



[advertisements.] 



Brussels,"] PENSION JANSENS. 

Belgium, j Room, board, and attendance, 6 francs per day. 

ig Rue de l'Arba Benoit. 



Chamonix] 

"HOTEL AND PENSION DES ALPES. 

Eighty well-furnished rooms. Magnificent view of Mont 
Blanc. Charges very moderate. 

J. KLOTZ, Proprietor. 

Cha monix ] GRAND HOTEL D'ANGLETERRE. 

First-class House. 

T. CREPAUX, Proprietor. 

Coblenz] GRAND HOTEL BELLEVUE. 

Splendid view of the Rhine. Patronized by English and American 

families. Excellent cooking ; choice wines ; moderate charges. 
FIRST CLASS. H. HOCHE, Proprietor. 



Dresden] GRAND UNION HOTEL. 

Patronized by the Amei-ican and English Colony. 
Hydraulic lift. 

Florence] 

PENSION CHAPMAN. 

Via Pandolfini 21. 

American House. Situated in the central part of the 
city. Comfortable and homelike. American table. 
Pension from 7 to 10 fcs. — all included. 

Mrs. M. M. CHAPMAN. 



Geneva] 

'grand hotel de la ietropole. 

Splendid modern Hotel, on the Promenade, 
opposite the English Gardens and the steamer 
landing. Lift. Every Comfort. 

WILLIAM GREULING. 



[advertisements.] 



Geneva] WATCHES, 

MARC PLOJOUX, Manufacturer, 

4r Rue du Rhone. 



Glasgow] 



PHILFS COCKBUKN HOTEL, 

Bath Street. 

SITUATED IN THE MOST ELEVATED AND 
DELIGHTFUL PORTION OF THE CITY. 

Passenger Elevator. Tiarkish Baths. 

MODERATE CHARGES. 



The Hague] 

HOTEL PAULEZ. 

rVHIS FIRST-RATE HOTEL, situated in the finest 
1 quarter of the City, in the vicinity of the Grand 
Opera, Museums, and Royal Park, cannot be too highly 
recommended for its accommodation, the excellence of 
its Table d'H6te and Wines, added to the attention and 
civility shown to all travellers. " Restaurant a la 
Carte" at any hour. Splendid Reading Room, contain- 
ing English, American, and French Newspapers. 

F. J. PAULEZ & SON, Proprietors. 

Heidelberg] 

HOTEL SCHRIEDER. 

EIRSTCLASS hotel, at the 
RAIL WAT STATION. 
150 Rooms. 
W. BACK, Wwe., Proprietress. 

Heidelberg] PENSION INTERNATIONALE. 

Formerly the "English Pension" — Anlage iS— the 
finest part of the Anlage. First-class pension. Special 
arrangements for protracted stay. 

Prop., Mrs. HOFFMAN, Successor to Mrs. Ellerman. 



[advertisements . ] 



Baths of Homburg] 



HOTEL BELLEVUE. 



First-class House. Patronized by the Amei-ican Gentry. 

W. FISCHER. Proprietor. 



Interlakeri] 



GRAND HOTEL METROPOLE. 

In the Centre of the Principal Promenade. 

250 Beds. Pension from 8 fcs. 

Elevator. 



Interlaken l HOTEL NATIONAL 

And PENSION "WYDER.. 
The Proprietor was some time since in America. 



Leghorn] 



London] 



jano,"| 



Lugano," 

Swi 



G-Fl^Km ZZOTBZj. 
PALAZZO FABBRICOTTI. 

One of the finest and most comfortable Hotels in Italy, in the 
middle of a Large Garden, with Lawn Tennis Ground, and a beautiful 
view of the Sea and Mountains. Hydraulic Lift, Billiards, Bath, etc. 
Pension all the year round. 

J. SPATZ, Co-proprietor of the Grand Hotel at Milan, Grand 
Hotel at Venice. 



THE INNS OF COURT FAMILY HOTEL, 

Higrli Holborn, W. C. 

CENTRAL, QUIET, COMMODIOUS. 

FIRST -CLASS ARRANGEMENTS. MODERATE TARIFF. 

WALTER GOSDEN, Manager. 

HOTEL LUGANO. 

Situated on the Lake, with Garden. American and 
English references. A. BROCCA. 



[advertisements.] 



Melrose] 

THE ABBEY HOTEL-Abbey Gate. 

The Only Hotel Built on the Abbey Grounds ; also 

The Georie anfl AiotsM Hotel, 

High Street, Melrose. 

Both only three minutes' walk from the railway station. Every 
comfort ; moderate charges. Patronized by leading American and. 
English Families. The only first-class hotels in Melrose. 
Horses and carriages of every description. 

GEORGE HAMILTON, Prop. 

Milan] HOTEL GRANDE BRETAGNE 

And REICHMANN. 

Corso Torino, opposite the Cathedral, and Victor 
Emmanuel Gallery. First-class family Hotel. Best 
situated; well known for cleanliness and comfort. 
Moderate charges. The Proprietor assures American 
and English visitors he spares no trouble to render their 
visit most agreeable. Hydraulic lift ; electric light. 

J. ROSSI, Proprietor. 

Milan] 

GRAND HOTEL DE MILAN. 

VIA ALLESSANDKO MANZONI. 

The only Hotel in Italy with POST, TELEGRAPH, and RAIL- 
WAY OFFICE. Hydraulic Lift. Electric light in every room. 

J. SPATZ, Co-proprietor of the Grand Hotel at Venice and 
the Grand Hotel at Leghorn. 

Moscow] HOTEL BILLO. 

Great Lubianka Street. 

(Gostinnitza Billo, Bolshaia Lubianca.) 

New Proprietor, JOSEF FUCHS, many years mana- 
ger of the Hotel Slawjansky Bazaar. 

This first-class Family and Commercial Hotel, favorably known 
for the last twenty years, is furnished with all the requisites of 
modern times. It is situated in the highest and healthiest part of 
the centre of the city, with a sunny aspect ; close to the theatre, the 
Kremlin, Bazaar, Exchange, post and telegraph offices. Table d'hote 
dinner at 6 o'clock. Separate dinners. English, German, and French 
newspapers. 



6 [advertisements.] 



Munich] 



HOTEL D'ANGLETERRE, 

(English Hotel— Englisher Hof.) 

FINE FIRST-CLASS HOUSE, 

IN THE CENTRE OF THE CITY. 

Specially recommended to American and 
English Travellers. 

Every comfort. Omnibus at the Station. Under the 
personal supervision of HERMANN STROUB. 



Naples] 

GRAND HOTEL ROYAL. 

First Class. Magnificent situation on 
the Bay. In full view of Vesuvius. 
Every Comfort. Lift. 

CAPKAjVI, Proprietor. 
Nice] WEST-END HOTEL. 

Promenade des Anglais. First-class House. 

T. CREPAUX, Proprietor. 

Paris] HOTEL DE LILLE ET D'ALBION, 

223 and 225 Rue St. Honore. 
CENTRAL LOCATION. COMFORT. 

MODERATE CHARGES. 

EXCELLENT CUISINE. LIFT. 

ABADIE, HENRY BOURGEOIS & CO., Proprietors. 



[advertisements.] 



Switzerland. 

Neuhausen-Schaffhausen. 



Falls of the Rhine. 



HOTEL SCHWEIZERHOF. 



F. WEGENSTEIN, Proprietor. 




First-class Hotel, replete with every comfort, in the best position, 
opposite the celebrated Falls of the Rhine, and commanding 
Splendid Views of the Falls, the Castle of Laufen, and 
the whole ranges of the alps. 

Grand Scenery. Healthy Climate. Fine Park and Garden.' 
Railway Ticket Office in the Hotel. 200 Beds. Special arrange- 
ments for longer stay. No charge for lights nor service. No fees 
to the servants. 

The newly built English Church is in the grounds of the Schwei- 
zerhof. 

Omnibuses at the Neuhausen and Schaffhausen Stations. 

By means of Electricity and Bengal Port-fires, and directed from 
the Schweizerhof, 

The Falls of the Rhine are Illumimated 
every night during the summer season. 



[advertisements.] 



Pisa] 



Rome] 



MUNROE & GO 



Paris] 



7 Rue Scribe, PARIS. 

JOHN MUNROE & CO. 

4 Post-Office Square, BOSTON. 

32 Nassau Street, NEW YORK. 

PtoJ GRAND HOTEL MINERVA." 

DIRECTLY AT THE RAILWAY STATION. 

New Building. Every Comfort. Charges Moderate. 
Omnibus free from Station. 



JOSEPH ANDREONI, 
SCULPTOR, 

95 and 97 St. Marie Street. 

STATUARY PACKED AND SENT DIRECT TO 
NEW YORK. 



HOTEL DE PARIS. 

In the highest and healthiest part of Rome. Four 
languages spoken. Lift. POSSIDONI, Prof. 



Rigi, Mt.J 



HOTEL RIGI KULM. 

At the summit of Mt. Rigi and the termina- 
tion of the highest mountain railway in Europe. 
Commanding one of the most magnificent views 
in Switzerland. 



[advertisements . ] 



Rome] 

PENSION CHAPMAN. 

Via San JVicolo di Tolentino. 

Situated in the most Elevated and De- 
sirable Part of the City. 

Building New, Commodious, and Ele- 
gantly Furnished. 

AMERICAN ARRANGEMENTS AND AMER- 
ICAN TABLE. Lift. 

Pension 8 to 10 Francs per day. 

Mrs. M. L. CHAPMAN. 



Stirling] THE ROYAL HOTEL. 

Opposite the G-eaeral Post-Office and near 
the Railway Station.. 



Stratford- 

on-Avo 



> n rd -] SHAKESPEARE HOTEL. 



Turin] 



Most Centrally and Conveniently Located 
near the birthplace, home, and tomb 
of Shakespeare. 

Charges Strictly Moderate. 



Grand Hotel de Turin. 

OPPOSITE THE STATION. 

Cleanliness, Comfort, and Moderate Charges. 
CONSTANT KRAFT, Proprietor. 



10 [advertisements.] 

Venice] 

HOTEL ROYAL DANIELI. 

FIRST-CLASS HOUSE, ON THE RIVA 
DEGLI SCHIAVONI. COMMANDS THE 
FINEST VIEW OF THE TOWN. MAIL 
STEAMERS ANCHOR IN SIGHT. 
READING, BILLIARD, SMOKING, AND 
BAR-ROOMS. TWO HYDRAULIC 
LIFTS, WITH SAFETY APPARATUS. 
RAILWAY TICKETS ISSUED, AND 
LUGGAGE BOOKED AT THE HOTEL. 
TELEPHONE COMMUNICATION WITH 
THE CITY. 

Venice] "gRA^D^HOTBlT 

(Formerly HOTEL NEW IOEK.) 

KEPT by OCCHETTI & SPATZ, on the Grand Canal. First-class 
House, with south aspect. The largest, best appointed, and most 
richly-furnished Hotel in Venice. Elegant apartments for large and 
small families, replete with every comfort, and decorated in the 
ancient style. Excellent cookery ; moderate charges. 



Venice] 



Vienna] 



Hotel Sean Ullage. 

Riva Schiavoni. View on the Grand Canal. 
Pension, 8 to 10 fcs. per day. 

ROSSINI, Proprietor. 



HOTEL ARCHDUKE KARL 

FINE, FIRST-CLASS HOUSE IN THE 
CENTRE OF THE CITY. 

SPECIALLY RECOMMENDED TO 

AMERICAN AND ENGLISH 

TRAVELLERS. 

PENSION— MODERATE PRICES. 

Proprietor B. SCHMID. 






To Travel anil Art-Study in Europe, 

By LAFAYETTE C. LOOMIS, A.M., M.D. 

With Plans and Catalogues of the Chief Art Galleries, Maps, 
Tables of Routes, and 160 Illustrations. 

One Volume, i6mo, 593 Pages, $3.00. 



Part. I. — Scenery, Art, Leg-ends, and Myths, including descriptions 
of places, buildings, monuments, works of art, and the histo- 
rical facts, legends, and myths connected with these. 

Part II. — Plans a?id Catalogues of the Art Galleries of Europe. 
Part III. — Maps, Tables, and Directions for all leadi?ig Routes of 
Travel. 



CHARLES SCRIBNER'S SONS, Publishers, 

743 and 745 Broadway, New York. 
OPINIONS OF THE PRESS. 



" If Americans are wise hereafter, instead of taking their ' Murray,' or ' Baedeker,' 
or ' Harper,' they will carry their ' Loomis.' Certainly nothing we have ever seen in 
the way of a guide book tells so fully and in a way so easily to be got at just what 
the American sight-seer in Europe wants, as this Index Guide." — Cincinnati Com- 
mercial. 

"By all odds the best guide for European travellers I have ever seen." — Hon. 
Horatio King, author of " A Year in Europe." 

" One of the most compact, comprehensive, and exhaustive travelling companions 
which has ever been printed." — JV. Y. Tribune. 

" The Index Guide has met with immediate success. It is one of the best books 
of its kind ever issued for the guidance of Art-lovers who go abroad to see the works 
of the great masters, and at the same time has the merit of being a thoroughly ser- 
viceable handbook for travellers. Every well educated person intending to visit 
Europe should provide himself with this most valuable and excellent work." — Boston 
Saturday Evening Gazette. 



" Only words of praise can be spoken of this -work. Any one who has been abroad 
and has endeavored to remember where some building or statue was to be found, and. 
has hunted through guide book after guide book, will appreciate an alphabetical in- 
dex, by whose aid everything which one needs to know may be found in a moment. 
One can see how this book would save vexation and expense a hundred times its 
cost." — Christian Advocate, N. Y. 

" This work is thorough and comprehensive, and supplies in a compact form an 
amount of information that would seem incredible to one who has not looked through 
its pages. It is one of the best books for the intelligent traveller who goes to Europe, 
not merely for sight-seeing, but to study and enjoy its great works of art and the 
notable events in its history.' 1 — Boston Post. 

" Fresh from a trip to Europe, we examined these pages with much interest. It 
would have been of great service, we saw at once, to have had it as a travelling com- 
panion. It condenses the contents of a small library." — Zion's Herald. 

" The amount of information condensed between the covers of the book is marvel- 
lous. A traveller who desires to make the most of his time in Europe in the study of 
art cannot have a better companion." — Boston Courier. 

" The whole work is a marvel of compactness, and there is a notable freedom from 
commonplace remark and needless comment." — Boston Transcript. 

" Most admirable. The little scraps of history and criticisms of eminent authors 
and travellers add largely to the value of the book." — Inter-Ocean, Chicago. 

" The judgment shown in the choice of material, the clearness of the plans and di- 
rections, and the thoroughly practical character of the whole work, render it all that 
need be desired in a work of this kind." — Portland Argus. 

" The editor and publishers have laid the travelling American public under a 
debt of gratitude for the Index Guide. It is weighted down like the argosies that 
we read about in the poets." — N. Y. Mail and Express. 

"A guide book of exceptional value. It presents all the principal art works of the 
Old World; all the places most worthy to be seen." — The Critic, N. Y. 

" The best guide for the European tourist which has yet appeared." — Telegraphy 
Pittsburg. 

" The very best guide-book for European travellers that we have seen for a long time. 
Everybody going to Europe should take this book with him. It can scarcely be too 
strongly recommended." — Baltimore Churchman. 

" Of all the works that have been compiled to aid the traveller on his way, this is 
the best and completest. It is not only a guide book, but a manual of art." — Pioneer 
Press, St. Paul. 

" The maps, tables, diagrams of routes, and illustrations are superior to any guide 
book of Europe we have ever examined." — Journal of Education, Boston. 

" Is a dictionary of European travel rather than a guide, and it will be of great 
service to most American travellers, especially when they go abroad for the first 
time."— fl. Y. World. 

" Few indeed are the books that have had more packed into them than this one. It 
is not a guide, but a comprehensive dictionary of travel, of character to be of use to 
travellers through Europe, whether on their first trip or their tenth. " — Rochester 
Herald. 

" The author and publishers of this book have really conferred a precious boon on 
American travellers." — 2i. Y. Scotsman. 

" The value of the guide is incontestable. It would be worth purchasing if only 
for the abundant maps of cities, plans of galleries, and charts of railway and river 
routes, to say nothing of the art illustrations." — N. Y. Evening Post. 

11 In every sense a modern guide book of travel for American tourists in Europe. 
It omits much of the useless trashy matter of the old style of ^European guide books, 
and gives compactly, conveniently, and intelligently the information most desirable." 
— Albany Argxis. 

" Seemingly there is information given concerning every place and object having an 
artistic interest that a traveller would see in Europe during an extended tour." — The 
World. 

" This is a remarkable condensation of useful knowledge for intelligent European 
tourists. — Standard, Chicago. 



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